Prog Issue 107 (April 2020)

JONATHON HULTÉN
ARANDEL
Chants From Another Place KSCOPE
InBach INFINÉ
Dark metal denizen reborn in acoustic splendour.
Inventive and audacious reworkings of compositions by Baroque’s greatest genius.
ver the last half century in places of Phillip Glass’
OJS Bach’s work has North Star. He adds lyrics in
proved robust enough to French to a cantata melody
withstand virtually any sort on Bluette, while Hysope
of treatment, including finds sequencers running
covers by The Jacques against ghostly choral
Loussier Trio, Walter/Wendy voices. But these reworkings
Carlos, Sky and Egg. And the can also be subtle, like Crab
composer’s ability to write Canon in which glockenspiel
killer basslines and his and delicate synths shape
occasional penchant for relentless a charming one-minute vignette. On
forward motion make his music Arandel’s own composition Homage To
fit relatively easily into rock and JS Bach harpsichord arpeggios segue
electronica. French composer Arandel into chiming electronics and breakbeats.
takes his fair share of liberties on InBach, If Bach is able to peer across the est known as frontman with Swedish dark metal terrors
backing organ works with synthetic dimensions, one could imagine him Tribulation, Jonathan Hultén has shrugged off all
rhythms and transforming fragments of reacting to this album with a casual B artifice and laid his soul bare on his first solo record.
keyboard pieces into vocal and electronic shrug of the shoulders. He must be Chants From Another Place is a delicate, deeply atmospheric
compositions, a combination reminiscent used to it all by now. MB affair, full skeletal acoustic folk and gently lysergic melancholy.


SIMONA ARMENISE Shorn of its rough
FEATURING ARES TAVOLAZZI edges, Hultén’s voice
is a revelation.
Lotus Sedimentations NEW MODEL LABEL
Italian guitarists’ Japanese-inspired concept album. A Dance In The Road provides a magical starting point, like
pening with swelling that the pair take to find a long-lost John Martyn outtake fed through some shape-
Odrones and low-end, direction. Placing trust shifting, malevolent prism. Hultén’s voice is a revelation,
growling notes, this and respect at the heart shorn of its usual rough edges and placed front and centre, as
collaboration between of the process, the pair a delicately intricate arrangement unfurls in the background.
Italian guitarist Simona create a welcoming, gently In much the same way that Opeth have frequently evoked the
Armenise and bassist undulating soundworld. past while remaining perfectly detached from time, A Dance
Tavolazzi, best known for On her own, the delicate, In The Road shuffles and thumps in psychedelic slow-motion,
his work in Italian agit- trilling arpeggios of neither knowingly retro nor tethered to the here and now.
prop, progressive rock Kimochi De, part-Durutti First single The Mountain edges nonchalantly into Nick Drake
veterans, AREA, initiates an Column, part-Fripp, quietly territory, but Hultén’s enigmatic presence and syrupy
inter-generation dialogue that’s utterly take the breath away. Accessible and harmonies give it an otherworldly air that fans of Hexvessel
fascinating. Armenise’s fluidity with the extremely tuneful throughout, perhaps and Anna von Hausswolff will recognise with glee. Again, it’s
fretboard has a habit of illuminating the best of these pieces, Yoru, closes his voice that brings the goosebumps, as the Swede muses
melodic crannies into which the bass the album in grand style. Venturing into on ‘the secrets of the sun’ and those harmonies swirl and
settles in a deeply satisfying way. a Floyd-like canter, Armenise really intertwine with almost jazzy fluidity. The Call To Adventure is
Unhurried and inquisitive what’s takes flight, unleashing epic galactic- simply stunning: a woozy, tense funeral stomp from solitude
especially good about the 21-minute spanning, note-bending runs that form
Hinode opening the album is the time a huge, mellifluous drama. SS to salvation, replete with loping Moogs and an endearing
frisson of menace, as Hultén grimly notes that ‘death grabs
you by the shoulders’. The darkness and devilry that informs
COLLECTRESS his day job is largely absent from Chants From Another Place,
but there is never any doubt that these are songs riven with
Different Geographies PEELER RECORDS spiritual disquiet. Wasteland is achingly beautiful but
unnerving, too: a shimmering, beatless reverie slowly
Quasi-classical London-Brighton quartet covering a lot of ground.
spinning in a maelstrom of gooey reverb, surging strings
ith a deliciously rich The Ravishing Beauties’ and mournful piano, as Hultén slips into an effortless, ghostly
Wpalette comprising of output. Darker energies falsetto. Instrumental detour Outskirts eschews the acoustic
cellos, flute, Rhodes piano, enter the narrative in approach in favour of brooding, lo-fi psych that builds like
analogue synths, occasional compositions where that a gathering storm, underpinned by clobbered keys and
guitar, violin, vocals, and melodies, twinkling like a krautrock pulse. The closing Deep Night portrays Hultén
assorted percussion, this nursery rhymes, become adrift on a sea of Mellotron: one last hymn to the skies, before
four-piece, all-female distorted and corrupt, the waves take him.
collective create highly summoning an uneasy, There are more upbeat moments, too: Next Big Day is
atmospheric instrumental restless spirit to impressive almost Tull-like, strummed and summery, as Hultén sings
music drawing upon both effect. Part of the charm of ‘waiting to be blown away’ while sounding ever so slightly
composition and improvisational and appeal of this album comes from worried about the whole idea. Deftly switching from piano-
sessions. While some chamber pieces the actual recording quality itself. We
adopt minimalism’s terse metronomic hear the natural reverb of the room as driven reveries (The Fleeting World) and skewed a cappella
counterpointing, others languorously players clap out Reichian rhythms or (Ostbjorka Brudlat) to wistful acid folk (Where Devils Weep) and
coalesce from vaporous overtones, their combined voices rising in striking stripped down and stark balladry (The Roses), Hultén
slowly assembling moving, vivid themes harmonies. That feeling of intimacy is navigates the shadows with the ageless grace of a master.
radiating with keening harmonics and amplified even more so via headphones These chants will haunt your dreams.
a stately air reminiscent of Penguin Café where these organic tonalities are DOM LAWSON
or a touching melancholy discernible in beautifully immersive. SS

progmagazine.com 101

MYRKUR
DEAP LIPS
Folkesange RELAPSE
Deap Lips COOKING VINYL
Ghostly folk from the black metal maverick.
US rock’n’roll duo Deap Vally join forces with Flaming Lips…
ut-and-shut supergroup youth’ and ‘the deep
Ccollaborations tend to valley where the dragons
dilute the talents of their and madness roam’) laced
component parts more with arcade-sound FX,
often than they multiply howling wind and Metal
them. Yet, in contrast, Mickey robot vocals.
there’s something Elsewhere, they do their
appealingly unlikely best to reinvent the surreal
about this mutual as the mood takes them.
appreciation society. Deap Love Is A Mind Control is
Vally’s lip-curled attitude and a lysergic lament that eventually blisses
Flaming Lips’ way with a slightly out into a sweet trippy trance, whereas
outré, sci-fi-inflected indie-rock groove The Pusher is a zonked-out electro-rock
combine well here on Motherfuckers meditation. Occasionally, artistically
lurred boundaries between the world of prog and Got To Go, but that’s Deap Lips at their stimulating ideas trump memorable
the left-field metal underground have led to some most two-dimensional, if entertaining tunes, as they sometimes do in the
B extraordinary music and the unlikeliest of crossovers nonetheless. Home Thru Hell is a more Lips’ day job. But as surprising, elope-
over the last decade or so. The rise and rise of Amalie ‘Myrkur’ multi-layered affair, an anthem for the to-Vegas marriages go, this one may
Bruun has been a thrill to witness, not least because the band (referencing ‘the flaming lips of yet have legs. JS
Dane’s earliest releases gave only the smallest of hints at the
expansive, windswept adventures to come. Regardless, both
2016’s ghostly choral live album Mausoleum and its fully- DIFFERENT LIGHT
fledged full-length follow-up Mareridt (2017) changed the game, Binary Suns (Part 1 – Operant Condition) PROGRESSIVE GEARS
revealing myriad new layers to Bruun’s sonic mystique, while
also straying far enough away from standard notions of black Supertramp-like Czech AOR prog, as warm as spring sunshine.
metal to indicate that those resistant to being screeched at lbum number five from Petr Lux’s excellent lead
might have a more accessible future to look forward to. But in Athe Czech-based band guitar work comes more
keeping with her meandering compositional route to date, fronted by keyboard player from the classic rock
Folkesange seeks to change the game again. Bruun has regularly and vocalist Trevor Tabone school than the classical
stated her plans to make an album of stripped down folk music, inhabits that happy land and jazz influenced
and this blend of new songs and reimagined traditional pieces where progressive rock approaches of Fripp or
delivers the promised detour with an insouciant flourish. meets radio-friendly 70s Howe. Lux is never guilty
AOR. The arrangements are of just filling up the space
An elegant, led by Tabone’s piano and, with notes, rather his richly
melodic soloing adds
bewitching with a laidback vocal style drama and texture to tracks such as
that hints at Roger Hodgson, the
triumph. most obvious musical reference On The Borderline. The production is
point has to be Supertramp. Even polished without sacrificing any of the
Performed on a mixture of traditional and modern when Different Light give the fullest warmth from the sound. The Answer
instruments and, via the production efforts of Heilung’s expression to their progressive is unashamedly catchy, while Faith is
Christopher Juul, overwhelmingly bathed in the kind of rich influences in the seven movements of gloriously uplifting. Different Light have
been through numerous incarnations
a track like Spectres And Permanent
reverb that instantly transports more susceptible listeners to Apparitions, the writing always keeps since founded in 1994, but they’ve hit
a higher plane of awesomeness, Folkesange shares only the the song’s hook in the spotlight. the sweet spot here. DW
tiniest amount of musical DNA with Mareridt. These are
glacial, beatific paeans to life’s mysteries; acts of “storytelling,
rites of passage, and the invocation of a continuity that passes DAVEY DODDS
through time”, enacted with a finesse that was certainly
present on previous records but that was often overpowered by Toadstool Soup COALSHED MUSIC
Myrkur’s more venomous instincts. Here, that harnessing of Pagan ‘rock’n’reel’ from Detectorists-influencing Cornish folk master.
the ethereal feels more natural and less like a dynamic trick: as
Bruun’s angelic voice spirals through the echoing fog of Leaves ans of cult TV show The as you might hope. On
Of Yggdrasil and Harpens Kraft she genuinely sounds lost in the FDetectorists will already tracks such as Three Lines
moment and empowered by forces unseen. know the extraordinary And A Whip, Dodds’ voice –
Boasting 12 songs in a snappy 47 minutes, there is clearly work of psych-folk artist part-pagan priest, part-
no requirement for wild experimentation: Folkesange’s Davey Dodds through The jester – is disconcerting,
austerity and simplicity is the whole of the law. The album’s Unthanks’ cover of The as if you’ve just stumbled
most jaw-dropping moment is arguably its most focused, too: Magpie, which features in into an ancient forbidden
based on an ancient Icelandic poem about a journey into Hell, the end credits. For older ritual. Equally, his
the seven-minute Tor I Helheim pulls off the neat trick of prog fans, Dodds will be arrangements of traditional
tunes channel Comus
sounding like it has been beamed here from the frosty, mist- remembered as frontman via The Wicker Man and a bit of
for English proggers Red Jasper.
strewn, pre-Christian past, with Bruun’s voice our eminently Toadstool Soup, his follow-up to 2017’s Richard Dawson. The band is
trustworthy guide through infernal darkness. Like everything Kernowcopia is a startling reminder impressively intense, especially the
here, it’s utterly disarming and, language barriers of the power of psychedelic folk. work of Carlton Crouch on pipes and
notwithstanding, utterly believable. You may have to consult When an album opens with a line like recorder, while Colette DeGiovanni
the ancient gods to found out what Myrkur will do next, but ‘Granny is a cannibal’, you know you’re brings sweet harmony to Sing The Sun.
for now this is an elegant, bewitching triumph. in for a treat. The ‘Granny’ in this case This album is a must-have for anyone
DOM LAWSON is a pike, and Dodds’ Kernow-inspired wanting a glimpse into a rare and
acoustic folk is every bit as strange exciting musical talent. RM

102 progmagazine.com

PROGRESSIVE METAL

Dom Lawson buckles up for a delve
DUNGEN
into the darker, heavier side.
Live MEXICAN SUMMER
Collage rock from the Scandinavian psych heads.
f you fancy a dose of bright-eyed charm,
uch like The Grateful groovescapes of 1970s Austrian/German foursome Oceans’
MDead – who surely Miles Davis albums such, I full-length debut The Sun And The Cold
figure in Dungen’s pantheon as Agharta and Black (Nuclear Blast) has plenty of the stuff,
of greats – the long-running Magus. Saxophonist Jonas along with persistent but endearing
Swedish band’s strengths Kullhammar drops in now shades of Amorphis that place these songs
have tended more towards and then to lend additional firmly in moody prog metal territory. It’s
transcendent moments of squirts of texture as not a perfect debut and a couple of songs
jammed out majesty than, producer Matthias Glava’s lean far too heavily on the blank-eyed
well, songs. Which means expert sequencing moves plod of 90s alt-rock, but in the vivid likes
Live is perhaps the most the listener from moments of We Are The Storm and Paralyzed, Oceans have something
accurate recorded document of of beatific pastoralism to passages of eminently worth nurturing.
their capabilities to date, being fiery cosmic abandon enabled by fluid Similarly interest-piquing are Manchester’s Chiasmata,
stitched together from live recordings musicianship and a sense of wonder whose newly released album preview track Foreboding
of the unit in full flight. The result is that is genuine and infectious. Retro screams of vast potential. A subtly ingenious take on dark
an album of oceanic rock that nudges they may be, but Dungen’s conviction is modern prog, it will have fans of Oceans Of Slumber and
Dungen closer to true psych outliers like hard to fault and Live illustrates their Madder Mortem dribbling onto their
Träd, Gräs Och Stenar (guitarist Reine unshakeable commitment to existing in smartphone screens. A lovely thought.
Fiske moonlights in that revered outfit) the moment rather than holding on to
and perhaps even the molten an idealised past. JS At the other end of the experimential
scale, Fought Upon Earth play
a scintillating strain of instrumental
FASSINE progressive thrash that fizzes with
moments of artful veteran virtuosity.
Forge TRAPPED ANIMAL The Bay Area trio’s second album Grave
Third album from Prog-tipped, XTC-loving icy London trio. Miscalculation (self-released) will thrill
anyone that discovered prog via metal’s
ark” is an overused and malevolent male and late-80s evolutionary splurge. You can still bang
“Dadjective in the arts female vocals on Everyone your head to dense epics such as Instant Pariah while wearing
these days – and indeed an Is Guilty To Me is equally a cape, let’s face it.
over-employed trope. If reminiscent of Massive Originally a gothic death metal band
they made The Beano movie Attack’s Mezzanine and with arty instincts, Pyogenesis have
it would surely involve Billie Eilish’s Bad Guy. The long since morphed into purveyors
a “darker” vision of Dennis Wagnerian operatic swell of imaginative alternative metal, as
The Menace’s troubled boy of Bloom is all-enveloping showcased on A Silent Soul Screams Loud
rebel. But the word springs before the female vocal (AFM), the band’s eighth record. From
to mind when describing this harmonies recall a heavier flawless, four-minute gems like Mother
London three-piece’s brand of electronica take on Lush’s brand of disillusioned Bohemia through to the grandiose, radio-
noir. Underneath that simplistic dream pop, then the storm dies and the
umbrella, though, can be found gossamer soft reverie of Hellsto (The friendly sprawl of the 14-minute The
numerous melodramatic moods and Sweetness Came For Us) allows shards of Capital, it’s a deceptively adventurous
textures. Limbs is truly captivating, riding light in through the blackened windows. affair but effortlessly, almost mischievously accessible, too.
swollen seas of symphonic rock offset by By which time, despite the reference Doom metal and prog go hand-in-
Sarah Palmer’s Liz Fraser-ish coos and points, Fassine have created a curiously hand, the spectres of Purple and Heep
eerie whispers. But then the menacing unpredictable and original record. omnipresent in the genre’s hive mind
blend of brooding thriller-soundscapes Swathed in shades of dark, of course. JS thinking. Self-evident masters of the
form, Norway’s Hex A.D. pull out all
the analogue stops on Astro Tongue In
FINAL CONFLICT The Electric Garden (Fresh Tea), gleefully
surfing on miasmic waves of rippling
Rise Of The Artisan GAOLHOUSE RECORDS
Hammond and generally sounding like
Staffordshire’s finest proggers soldier on. the last 45 years
never happened.
f there were an award for stretch credulity to claim For an even more satisfying hybrid of
Iperseverance in the face that Final Conflict are heaviness, Garganjua’s truly extraordinary
of scant career-long innovators. With glossy Toward The Sun (Holy Roar) already looks
recognition, Final Conflict production and a heavy like the 2020 benchmark for progressive
would be strong contenders. edge, the album’s keyboard doom. Blurring the lines between crushing
Thirty-five years on from sounds are a bit dated and
their formation, and still there’s nothing breaking post-metal, haunting atmospherics and
helmed by founding new ground, instrumentally disquieting discord, songs like The New
guitarists Andy Lawton and or compositionally. However Sun and Mire pack a devastating emotional
Brian Donkin alongside Rise Of The Artisan’s 10 wallop while also sounding like music from another
keyboardist Steve Lipiec, the neo-prog songs typify prog at its most accessible, world entirely. Finally, Norway’s Dwaal conjure their own
quartet continue to create. Final with a careful balance struck between snail’s-pace tornado on the extraordinary Gospel Of The Vile
Conflict’s new album serves as the Final Conflict’s trademark twin guitars (Dark Essence): a gruelling but gripping
second part of a series, successor to and keyboards as they document the 65 minutes of widescreen funeral doom
2012’s acclaimed Return Of The Artisan. Artisan’s struggle with finding fame in with startling space rock crescendos,
While they may not be hugely prolific – the digital age. And there’s no shortage unstoppable deluges of obsidian sludge
…Artisan is only their seventh album – of energy, as per the high octane Life #1, and heart-stopping dynamics by the ton.
everything that Final Conflict do is which gives Marillion’s Incommunicado Being steamrollered never felt so good.
lovingly crafted. Musically it would a run for its money. NS

progmagazine.com 103

THE HOME OF

NOVENA
KATIE GATELY
Eleventh Hour FRONTIERS
Loom HOUNDSTOOTH
Precocious prog metal Londoners – featuring Ross Jennings – power up.
Monumental elegy manipulates voice, samples and electronics to immersive effect.
oom, the second album each other, a stream of
Lby experimental words rising up towards the
American musician Katie light, the soundtrack to a sci-
Gately, was born out of a fi fairy tale sculpted digitally
terrible situation. Recorded from organic materials.
during her mother’s fight The epic centrepiece is
against cancer, which Bracer, a slow-building
ultimately proved fatal, it’s murmuration of percussion,
pervaded by the feeling of wind instruments and piano
an intense struggle taking that climaxes with a devilish
place. It samples earthquake rumbles, crescendo of vocals and electronics, like
peacocks screaming, wolves howling, a cyborg Anna von Hausswolff embracing
a coffin closing… And yet it’s often the singularity. After that, Flow’s
a disorientatingly luminous work, as towering fanfare of synths sounds almost
though Gately has created some vast restrained, Gately’s voice more wraith- neaked out with inadequate fanfare in 2016, Novena’s
Escher-style castle through which to like now as she gradually surrenders to debut EP Secondary Genesis was a startling debut from
stalk, singing sweetly and precisely like the wavelengths and frequencies, hinting S a relatively unlikely meeting of prog-inclined minds.
an avenging angel let loose upon the at the darker impulses in Kate Bush’s With Haken vocalist Ross Jennings on board, this London-
earth. On Allay, voices weave against oeuvre as she goes. Mesmerising stuff. JB based quintet were always going to grab the attention of the
prog world, but with several notables from the modern UK
death metal scene in their ranks, Novena were plainly
GRIMM GRIMM predisposed to lean towards a more brutal and fervently
metallic sound. Fortunately, for less sensitive proggers, it’s
Ginormous TIP TOP
a formula that works brilliantly and that’s been expanded
Koichi Yamanoha and Bo Ningen/Stereolab guests dish out some mellow pleasure.
beyond comprehension on Eleventh Hour; a rich and red-
blooded full-length debut to savour. The band’s ongoing use
hree albums in, London- plus a smattering of guests.
Tbased artist Koichi Stereolab’s Laetitia Sadier of aggressive, death metal vocals aside, it’s hard to imagine
Yamanoha continues to layers bittersweet vocals what even bitter cynics could find to complain about here.
refine his bucolic strain over The Ghost Of Madam
of homemade, off-kilter Legros, an otherworldly Elements heard before
folk. The intention this piece that feels directly
time around, says the plugged in to Yamanoha’s but here they’re fresh
ex-member of Japanese subconscious. The other and exciting.
psych-punks Screaming defining presence is
Tea Party, was “to write an singer Paz Maddio (from
album that sounds like a funeral and Argentinian-rooted Value Void), who Four years on from their first foray, the band have
a wedding at the same time.” Thus, brings a sense of psych-folk reverie to blossomed. From the opening harmonies of 2259 onwards,
the tone of Ginormous is perfectly the wonky horizon of In A Glass Jar and Novena’s collective relish at having an hour to explore
weighted between happy and sad, the haunting We’ve Never Been This Far their most extravagant musical ideas is palpable. The
its dreamy passages imbued with Before. Various members of Bo Ningen musicianship on display is of course flawless, but it’s the
a melancholy that never quite loses its help out too, alongside French violinist ingenuity that grabs you first: within a couple of minutes,
grip. Most of this music is derived from Agathe Max and Peluché’s Sophie Lowe 2259 switches from moody grandeur to rapacious prog metal
pulsing electro-acoustic rhythms as on clarinet. An abstract work of
engaging as they are quietly eccentric, understated power. RH riffing and back again, via several connecting interludes and
oddball detours, as Jennings and co-vocalist Gareth Mason
fight it out in the foreground. As the song evolves, it briefly
KOYO sounds like a cross between Yes and Symphony X, before
veering off on a peculiarly wonky tangent that leads to an
exquisite oasis of hazy jazz. It’s a blend of elements that we’ve
Live At RAK 88 WATT
heard plenty of times before, but Novena have somehow made
Stirring studio performance set from noisy Yorkshire quintet.
it sound fresh and exciting: the detours are seldom flagged
hile a second set before a lurching, in advance, but they never fail to take the songs somewhere
Wof original songs is irregular riff kicks in, but even more compelling. The album’s other three epics are
in due in the summer then the clouds of noise all so full of inspired, what-the-fuck moments that to list
from this Leeds five-piece, part to reveal a soft-sung them here would drive us all quite mad, but please trust that
this live-in-the-studio set romantic paean. But the Lucidity, The Tyrant and particularly the closing Prison Walls
from 2017 is a tidy reminder stand-out tracks bookend are all spectacular. Novena can do succinct too, which is
of why they generated the set. Taking up the a bit cheeky after all that intricate showboating, but the
such excitement when they metaphor of the title, streamlined likes of Sun Dance and Indestructible are every
first emerged. The five Strange Bird In The Sky’s bit as convincing as their more overtly proggy counterparts.
tracks all appear on their jet-propelled riff slowly Meanwhile, for the helplessly sentimental among us, Sail
self-titled debut, but in this setting accelerates then shoots into the Away is a poignant and pretty moment of respite and quite
there’s a fresh intensity to them, while blue. Then later, the first part of
they also reflect the broad range of Tetrachromat is punctuated by feasibly the single most beautiful vocal performance of
their sound. The huge, noise-shrouded a Wakeman-esque synth motif and Jennings’ career to date.
vistas of Jouska are the backdrop for Floydian swirls of psychedelic sax, Educated observers may note that the UK prog scene
a dream-pop reverie that could before finally it sinks into a post-rock doesn’t exactly need a kick up the arse at the moment. But
have topped the indie charts in maelstrom peppered with flecks of Novena are strapping on their size 12s, just in case.
1988; churning waves of industrial techno, like Mogwai remixed by DOM LAWSON
noise introduce Ray Of Sunshine Tangerine Dream. JS

progmagazine.com 105

THE ORB
MAGIC SWORD
Abolition Of The Royal Familia COOKING VINYL
Endless JOYFUL NOISE
High times with Steve Hillage, Miquette Giraudy and Roger Eno in the mix.
Synthetic drama from the comic book multiverse.
agic Sword exists The answer is yes. These
Mon three fronts. synth-heavy instrumentals
First, there are the graphic tend to build around
novels of the same name, a central groove, with
detailing a sci-fi fantasy electronic flashes popping
saga of good versus in and out of focus like
evil. Then there are magnesium flares. Endless
the conceptual live often feels like a close
performances that give cousin of both Cliff
motion to the narrative. Martinez’s gliding score for
And then the music. The shady “trio Nicolas Winding Refn’s Drive and John
of Immortals” from Boise, Idaho – Carpenter’s works from the 70s and
known as The Keeper of the Magic 80s. Depths Of Power and Empress are
Sword (keyboards), The Seer of All sleek, frictionless examples. But they’re
he Orb’s relationship with prog feels rather like Wire’s Truths (guitar) and The Weaver of all also highly versatile, hitting on a big
in that opposing factions, who might be seen as Hearts and Souls (drums) – create dance beat one moment (Prophecy; the
T mutually exclusive, both claim the group as their soundtracks to these graphic creations, euphoric Invincible) and eliding into
own. In The Orb’s case their exploratory, long-form pieces, with Endless marking the final chapter meditative, Tangerine Dream-like calm
psychedelically-informed sonic palette and surreal British of Volume Two. But is it worth hearing? (Hope; the title track) the next. RH
humour gives us the point of crossover between dance,
electronica and prog. And as well as the musicians who
contribute here, two of prog’s biggest guitarists have PREVITE, SAFT, CLINE
previously collaborated with them: Robert Fripp played with Music From The Early 21st Century RARE NOISE
The Orb as FFWD in 1993 and David Gilmour featured on
their 2010 album Metallic Spheres. Fiery live album from the trio’s 2019 US tour.
arts of Music From drums start spiralling
They peak at the PThe Early 21st Century off and after incisive
cosmic breakbeats of sound composed, such is rhythmic chord work,
Queen Of Hearts. the empathy of the three Cline cuts loose and goes
echo crazy. On this track
musicians involved, but it’s
all completely improvised. Saft sounds like a cross
That said, the opening song, the soulful house number And it’s edited so that we between Graham Bond
Daze – Missing & Messed Up Mix immediately requires us to get the really good stuff. and Hugh Banton, and at
get our collective groove on and this leads into the pulsing Proceedings kick off with times he signals across
mutated techno of House Of Narcotics – Opium Wars Mix with Photobomb, with Nels Cline space like Rick Wright
its echoed voices, clipped guitars, bubbling synths and sweet running his guitar through looping on Ummagumma. The trio can turn
strings. This is the strangest of protest albums, a critique of effects and drummer Bobby Previte on the proverbial dime, suddenly
sorts of the monarchy’s endorsement of the narcotics trade restlessly exploring his kit before veering off into jazzy excursions
that prompted the Opium Wars with China in the 18th and they find a groove. Then Jamie over walking bass, taking it down
19th centuries. Saft reminds us that a Hammond to almost nothing, then erupting
But when we get to track five out of the 12, the resolutely organ through a Leslie speaker remains volcanically. Or they can sound plain
uncommercial new single Pervitin – Empire Culling & The one of the most exciting sounds in cranky like the lopsided march of fuzz
music. On Paywall he keeps returning
guitar and gloopy synth that begins
Hemlock Stone Version, it winds right down, with Ollie Cripps’ to a tolling chord sequence while the Flash Mob. MB
trumpet sailing over an abstract ambient wash, speech
snippets and processed female voices. Abolition Of The Royal
Familia is curiously structured, with the long comedowns often SEVEN SPIRES
more appealing than the highs. ‘This is the WNBC, the West
Norwood Broadcasting Corporation, streaming live to you whoever, Emerald Seas FRONTIERS
wherever and whatever you are’ comes the announcement A new force in symphonic metal, from Boston.
introducing Afros, Afghans And Angels – Helgö Treasure Chest
Mix with slowly changing chords and a range of sonic detail he world of symphonic which shows the band can
from sonorous bass notes to twinkling keyboard decorations. Tmetal has long been get heavy with a quick burst
The Orb gradually pick up the pace again, gear-shifting into ruled by Scandinavia and of a blastbeat. Guitarist
dub, striding skank and peaking at the cosmic breakbeats and Finland, but Seven Spires Jack Kosto unleashes some
primary coloured sequencers of The Queen of Hearts – Princess prove that Berklee-trained shred in Succumb, which is
Of Clubs Mix. Then it all decelerates into the shallower bands from Boston can driven along by Chris Dovas’
gradients that run down to the album’s close. The Weekend It confidently channel the double kick drumming, but
Rained Forever – Oseberg Buddha Mix (The Ravens Have Left The musical grandeur and Seven Spires inhabit the
Tower) is outstanding: a lengthy, inspired collage of watery fantasy themes of the more romantic end of the
prog metal spectrum,
synths, minimal piano, bird calls and snippets of spoken non- genre. The quartet’s second where you might find Delain or
album, Emerald Seas, is suitably
sequiturs, as if someone is searching for radio reception in theatrical in style and execution. Nightwish. There’s always a hook even
a caravan on the edge of marshland. And then, inevitably, Frontwoman Adrienne Cowan in the heavier tunes like Unmapped
the sound of rain sets in. It’s an aural picture of a situation in switches between a powerful, theatrical Darkness with its lyrics about demons,
which you would have to make your own amusement – and delivery and death metal growling in while Ghost Of A Dream brings in some
in those circumstances kicking back and listening to this a manner akin to Arch Enemy’s Alissa Spanish folk influences. Bury You is an
album would be an ideal diversion. White-Gluz. She can be gentle in Love album highlight, letting Cowan go into
MIKE BARNES From The Other Side, or hiss and spit full diva mode, reaching into the upper
with venom in Drowner Of Worlds, end of her impressive range. DW

106 progmagazine.com

PROGRESSIVE FOLK


SONUS CORONA Paul Sexton on the incredible stringed
bands that gently rock this month.
Time Is Not On Your Side INVERSE
Six to beam up, Scotty.
ublin-based newcomer Aoife Nessa Frances swiftly
carves her own space with Land Of No Junction (Basin
inland’s fertile music Saints which, as the name
Fscene continues to suggests, actually swings, D Rock). Space is indeed the word
produce bountiful fruit with while they go full prog in for the dreamy hue cast, for instance,
the second album from the odd time changes of the by Geranium, with its echoing vocals
Sonus Corona. The sextet excellent instrumental and lyrical guitar. Blow Up, an outrider
play modern, creative Moment Of Reckoning. for the album last October, is typically
progressive metal in the Illusion opens with what underplayed and tranquil, with
same vein as Haken or sounds like a Star Trek gorgeous strings taking it close to
Leprous, striking a balance teleporter before moving Nick Drake territory, via Beth Orton.
between crunchy riffs and into an elegant acoustic There’s more of a modern rock vibe
hook-laden choruses. They’re blessed vibe. Esa Lempinen’s organ work adds about Less Is More, but throughout, a deliberate sense of
with a great voice in frontman Timo a tasty classic prog edge to Induction mildly weird disorientation, of travelling but never arriving.
Mustonen who possesses a rich and The Refuge, and the album wraps in Coventry band The Trees’ Here Come The Trees (Glasslip)
tone, plenty of power, and enough dramatic style with Here, full of shifting is as bucolic as they come, but also as
conviction and charisma in his delivery moods and smart syncopated passages. topical. At one with nature and therefore
to imbue the lyrics with life. There are Sonus have unlocked the formula for completely on point with our heightened
satisfyingly heavy drop-tuned guitars in making prog that sounds contemporary modern-day awareness of the world we’re
Unreal and Oblivion, but Sonus Corona without becoming detached from its supposed to be sharing, it’s a delightful,
show their versatility with Swing Of roots. Very impressive. DW
quirky and sometimes amusing
celebration of the oxygen-donating
STÖMB perennials around us. From a concept
planted by Christopher Sidwell, it grows
into a highly unusual narrative that, as he says, portrays
From Nihil SELF RELEASED
the trials of man vs nature, or man vs man, as in
French instrumental metallers deliver a feast for the senses.
conservationists vs corporations.
e wanted to get journey. Opener From Coventry it’s up the M1 (or by train, if we’re minding
“Wthe best from the Dimension Zero is tech our carbon) to Hull, where Pavey Ark are
ambience of post-rock and metal done just right, making confident strides on the alternative
also get the tightness, while Extrasensory lobs folk scene. Four years after they formed
power and strength of some machine-gun around singer-writer Neil Thomas, they
metal,” Stömb sticksman drumming into the mix present the self-released debut album
Tom Gadonna told Prog alongside atmospheric Close Your Eyes And Think of Nothing, an
recently about their new guitar. The intense assured, acoustic-based suite of songs
material, and it’s fair to say Embrace The Nihil, introduced last autumn by the amiable,
the French instrumentalists meanwhile, sounds at string-laden Cuckoo. Influences ranging
have bloody well nailed it. From Nihil, times like Mastodon being tortured and from Love to Father John Misty make for a vivid
the quartet’s second LP after their 2015 contorted by Meshuggah. And no lyrics? palette, on display at such upcoming dates as London’s Green
debut, is the thinking listener’s metal Who cares when the music says this Note on April 17.
for 2020, with its self-proclaimed ‘post- much. By the time the claustrophobic
djent’ groove married in unholy Towards Deliverance wraps it all up, Arbouretum’s Let It All In (Thrill Jockey) is a skilled stew
matrimony with brutality, brains and you’re left bruised and sweaty, but of prog, psych and Britfolk flavours, all
plenty of melody if you listen hard exhilarated and ready to press play to the more interesting to be emanating
enough. At 70-odd minutes in length do it all over again – once you’ve calmed from Baltimore. Vocalist-guitarist Dave
the 10 tracks melt into one immersive down and caught your breath. CC Heumann and bandmates offer a satisfying
sound that sits assuredly between mystical
and mainstream, on such easily accessible
TANGERINE DREAM melodies as Buffeted By Wind.
Najma Akhtar’s Five Rivers (Last Minute
Productions) has mysticism to spare too,
Recurring Dreams KSCOPE
The Dream goes on… forever? on a sonic expedition from the Ganges
to the Thames and many points
he death of Edgar re-recorded selections in-between. To continue the river
TFroese from a pulmonary from the back catalogue, analogy, confluence is the word, as
embolism in 2015 might have Recurring Dreams is perhaps Akhtar (whose previous collaborators
seemed cataclysmic for the best thought of as applying have included everyone from Robert
pioneering band he founded a fresh lick of paint to some Plant to Philip Glass) deftly combines
back in the heady days of the old favourites, serving as ancient Indian poetic artistry with
late 1960s. To the contrary, an entry point for the Western folk and rock forms.
though, it seems to have uninitiated and a demo
focused remaining members reel for how the current Last, but never least, Ashley Hutchings pops by with
Thorsten Quaeschning, outfit view the oeuvre. the live “official bootleg” Dylancentric
Hoshiko Yamane and Ulrich Schnauss into New arrangements of tracks such (Talking Elephant). It’s the covers set of
a unit determined to honour his life’s as Monolight, Horizon and Phaedra his muse, old Zimmy himself, performed
work. 2017’s Quantum Gate – drawing on emphasise clocking sequencer lines by Ashley and a band featuring his son
ideas Froese had been working on prior and pulsating rhythms, demonstrating Blair Dunlop at last year’s Isle of Wight
to his departure – was well received and the group’s position as a forerunner Festival, 50 years after Bob topped the
the group’s achievements are currently to much of today’s electronic music bill there. From Maggie’s Farm to Mr
being celebrated via the Tangerine while retaining the unearthly beauty of Tambourine Man, it’s a tribute from one
Dream: Zeitraffer exhibition at London’s Froese’s trademark melodicism. It seems master to another.
Barbican Centre. Comprised of the legacy is in safe hands. JS

progmagazine.com 107

DARRYL WAY
TEMPLE RENEGADE
Destinations RIGHT HONOURABLE RECORDS
The All Is None SELF-RELEASED
Curved Air violinist turns guitar hero.
Promising debut from metallic Dutch proggers.
he All Is None, strongly at Karnivool’s
T an ambitious Goliath, and the outro
concept album about the percussion of A Fistful
circular nature of human Of Sand could be a segue
experience, sounds on a Tool record. Also,
fantastic. The drums, calling a track Deadman,
guitars and vocals all sit the name of an actual
exactly where they should Karnivool song, is a bit
in the mix, with enough heft much, even if the song
to recall bands like Aussie is more Mastodon-
proggers Karnivool, or prog metal sounding. On the recording side,
titans Tool. The songs themselves are things are very tightly ‘on the grid’,
just as monolithic, with the highlights with a metronomic quality as to how
being the frenetic Qualia and angular precise the instruments are. Temple
iccolò Paganini was arguably the world’s first ‘axe Enter Illusion. The main issues with the Renegade – from The Hague – are
hero’. Okay, his main instrument was the violin, but album, and band, are with wearing their a talented quartet for sure, and this is
N his virtuosity was such that his string-wrangling influences a little too much on their a fun record, but they need to develop
generated adulation more akin to that given to Van Halen or sleeve. Enter Illusion is like an early their own voice more fully on future
Steve Howe than your average classical musician. Darryl Tool pastiche at times, Qualia hints releases (we’re sure they will). AL
Way’s reputation as a violin master is beyond question, not
least because of his groundbreaking work with Curved Air,
as well as recent outings such as Vivaldi’s Four Seasons in Rock. THE GURU GURU
He’s also a decent keys man, but guitar hero? That might be Point Fingers LUIK/GRABUGE
about to change.
Scrappy, proggy punk from Belgium.
Way plays arch or their second album, hardcore sound, on tracks
melody maker, chops FThe Guru Guru have like Skidoo, which almost
in service to the song. doubled down on their captures a bit of At The
Drive In’s One Armed
genre-blending punk-
prog experimentation, Scissor in its chorus. If
Destinations is Way’s full-debut as ‘geetar man’, and, emphasising their noise there’s a criticism that can
as the title suggests, a travelogue: 10 instrumental picture- rock credentials while be levelled at the record,
postcards of some of the world’s most evocative destinations. keeping a melodic edge it’s that there’s a tendency
Way takes us from Downtown LA to Vienna via the to all the tracks. At times, to drift into meandering
Wild West and Antigua. Tonally, for the most part, Way it recalls fellow Flemish sections where it’s just riff
operates – as with Four Seasons – in modes carved out by math-noise-proggers Raketkanon, following riff without a smooth flow, as
Steely Dan, Toto and other yacht rockers. Given the revival while at others it has some of the on Chramer, but when you’re throwing
of interest in that sound, it makes Way sound both vintage frenetic-yet-danceable groove of Aiming this many ideas at the wall sometimes
and very contemporary. For Enrike. The former comparison song structure is the first casualty. It’s
Beginning with the clatter of Pete Skinner’s drums, opener makes sense, as the producer of Point as well that they have the rapid-fire,
Downtown LA rather wonderfully evokes the brittle shininess Fingers, Wouter Vlaeminck, has also caustic vocal of Tom Adriaenssens to
lean on for focus and drive – as an
worked with Raketkanon. They’re at
of the West Coast. On this track, as on most others, it’s Way’s their strongest when they focus on instrumental act the songs would
guitar work which is front and centre. Favouring a sound with a more straight-up angular post- probably fall flat. AL
just a hint of distortion, he wisely doesn’t attempt to shred
à la Steve Vai. This is ‘guitar hero’ as arch-melody maker,
putting his chops in the service of each song’s mood. On the VASA
groovy Freedom Road, for example, the shadow of rock’s early
masters like Hank Marvin and Duane Eddy loom large in Heroics SELF-RELEASED
a pleasing way. Scottish noise sculptors’ second sketches out a life in sound.
If there is a criticism, it’s the classic one made about
70s West-Coast rock: parts of this album feel a little t’s an unenviable task for parents much peace, though,
hermetically sealed and frictionless, especially the laid- Iany modern rock band: as Prom Night is full of
back lilt of Antigua Bay or the meditative The Stars. Even attempting to flesh out fireworks, as if something
those tracks never fail to hold interest: The Stars for example a concept narrative without really momentous went
blends trancey keys with violins to hypnotic effect. And the help of lyrics to spell out off – lost virginity perhaps?
there’s grit on Destinations too. The album opens in a proper the story. At least Glasgow A mass brawl in the school
clatter of sound, and Metropolis soars and swoops, as Way’s post-rock quartet VASA mark car park? Who knows, but
violin and guitar creates a perfect counterpoint to the track’s this musical journey through the galloping tempo and
driving mood. the stages of a young man’s breathless feel suggest life
Most of all, Destinations foregrounds Way’s gift for melody life via unambiguous song is getting eventful. That
– closer Mystic Mountain has a particularly plangent violin titles such as Childhood, Adolescence and nervous energy is also shot through
Adulthood. They just about make sense,
Victoria, with an impatient time signature
line – and his unabated desire to try new things. While too, as juddering tempos and tantrumous and furious string-shearing guitar noise
Way’s guitar tekkers are never going to be as distinctive as noise bullets on the title track straddle running through it. Finally, there’s
his four-string gymnastics, that’s not the point. This is an angst-punk and prog-metal, and the a climactic, redemptive feel to seven-
artist searching for and – much of the time – finding a fresh chugging riff shards of Everything Is minute closer Expectation, wherein
way to express his unquestionable talent. Golden are equally bolshy and ebullient banks of guitars and keyboards reach out
RACHEL MANN as befits the pre-teen phase of the for higher meaning. Heroics? Sometimes,
record. This individual’s not giving his but always reassuringly human. JS

108 progmagazine.com

AND LAST BUT NOT LEAST

Grant Moon has a rummage down the back of
WAX MACHINE
the Prog sofa for the ones that nearly got away…
Earthsong Of Silence BEYOND BEYOND IS BEYOND
Mind-blasted debut from Brighton quartet: the Wax Machine turns on.
rilliant cellists? Prog’s got ’em! Of late
we’ve had Jo Quail, Raphael Weinroth-
orn in Brazil, partly an anything-goes
Braised in Italy and groovefest that could B Brown and now Alison Chesley, AKA
now based on the south be Santana and Os Helen Money. Her long and varied CV
coast of England, singer/ Mutantes shaking it loose, features Mono, Russian Circles and Bob
guitarist Lau Ro funnels before stripping down Mould, but she wrote latest album Atomic
his cosmopolitan to the skeletal ethno- (Thrill Jockey) in the shadow of family
influences into Wax funk of Sun Dance. Time bereavement. Her cello supplies minor-key
Machine in dazzling style. Machine is deliciously odd melodies, ethereal textures and supple
With a couple of heavily in a pastoral psych way, rhythms on this exploration of trauma and
psychedelic EPs out already, with Jones intoning connectedness which, while melancholy, is
produced by Go Kurasawa of Japanese nonsense about broken people, children also hopeful and accessible.
trippers Kikagaku Moyo, this album guzzling gasoline and mutant fishes Chile’s Travis Moreno bring wide-eyed
is a feast of cosmic funk, prog-jazz, swimming in melted ice. And there’s fervour to the prog party on Holograma
old-school tropicália and hallucinogenic a trance-like, Age of Aquarius feel to (Persea). This cojones-to-the-wall platter
rock, wonderfully realised by Ro, Birdsong, which exhorts us to fly into snorts up Yes, Soft Machine, ELP at one
flautist and fellow vocalist Isobel the sun for spiritual release. But the end and blasts out a swirling psych-fest
Jones, bass player Woody Green and real gem is the epic Turiya, whereby at the other. Singer Javier Gahona gives
drummer/percussionist, Toma Sapir. Wax Machine embark on a thrilling
They strike early with the astral Shade, journey into spacey freeform jazz. RH a spirited performance against Andrés
Sanchez’s squalling synths, with Cristóbal Ulloa and Jorge
Rubio propelling us through the galaxy with serious South
STIAN WESTERHUS American grooves. A total fiesta for the ears.
White Stones is the side-project of Opeth’s
Redundance HOUSE OF MYTHOLOGY bass player Martin Mendez, and their debut
album Kuarahy (Nuclear Blast) is a straight-up
The Norwegian guitar star finds his voice on his deeply personal fifth.
death metal album. Eloi Boucherie’s growl sets
tian Westerhus doesn’t like Verona has a nearly- the tone, Mendez plays the dark and doomy
Sdo conventional. His catchy harmonised chorus, guitar/bass riffs, while Opeth’s Fredrik
last solo record, 2016’s There’s A Light is groovy but Åkesson and Katatonia’s Per Eriksson handle
Amputation was a wilfully – just to ensure zero radio the widdly bits. A proudly infernal racket.
challenging voyage, and play – his voice has been The 2000 AD artist Boo
amid its ambient/industrial processed to be guttural Cook has released darkly
elements you could hear and indecipherable. The folkloric albums as Forktail with his
him developing his voice as proggy acoustic-guitar piece brother, Si. Stance Katarvis is their latest
a tool, and he explores that Walk The Line shifts to a new aural arcana project, and their self-titled
further on Redundance. tonal centre with every record (Menk!) is meant to “simulate the vibe
Owing a tonal debt to Bowie’s Low, this phrase – that’s unsettling, but the guitar of an intoxicated evening spent watching
deep, emotionally raw piece of art sees solo midway is bloody terrifying. Rightly,
the Norwegian’s avant-garde talents the album’s title track is its emotional YouTube vids about the paranormal,
on full beam. His vocals are hip and heart. To stark piano and increasingly cryptozoology, UFOs et al”. It does too: the
performative, whether taking aim at Psycho-esque cello, Westerhus repeats echoing collage of found sounds, psych and
China’s oppressive regime (the sinister a tortured ‘Never ever ever ever again’ krautrock makes for a fun, Fortean fug.
Chase The New Morning), or chewing refrain that implies searing heartache James Righton was the vocalist/keyboardist for now-
over a toxic relationship (All Your Wolves, and the resolve to break free from past defunct indie rockers Klaxons. Their radio hit
utterly overwhelming). The Radiohead- patterns. Heavy stuff. GRM Golden Skans hinted at musical sophistication,
but Righton’s solo record is on a higher plane.
The Showman (DEEWEE) opens with the title
JONATHAN WILSON track’s none-more-Supertramp electric piano,
and coats smart 70s art-rock and slick 80s pop
with the fresh psych patina of Tame Impala or
Dixie Blur BELLA UNION
Roger Waters’ multi-talented wingman heads to Nashville. Mew. A glistening drop of ear candy.
To cut a long and lofty story short,
e helped revive But this is a proggy esteemed composer Simon Fisher Turner
HLaurel Canyon as aside rather than the wrote A Quiet Corner In Time (Mute) for an exhibition by
a music haven, produced headline. Aiming for ceramicist Edmund De Waal at LA’s
a wealth of hip artists a fresh sound, Wilson modernist landmark, The Schindler House.
and made a raft of his decamped to Nashville Trams glide, hallways reverberate, mallets
own strong albums (the for Dixie Blur, packing
brilliant Fanfare and Rare the studio with ace session hit metal and porcelain rattles. Out of
Birds among them), but musicians. You can feel context these classy, resonating textures
Jonathan Wilson’s won the burden of the one-man lose some of their power; in situ they would
a whole new audience as band lifted off this North have enhanced De Waal’s space admirably.
Roger Waters’ sideman. He played Carolina boy as he parks the West And finally, if King Crimson were always
guitar on Is This The Life We Really Coast psych and goes native, replacing just too vanilla and predictable for you
Want? and sang David Gilmour’s parts the whimsy with something more then try Baltimore’s
on the 150-plus date Us And Them straight-ahead. Cue ebullient, fiddle- extraordinary Horse Lords. The Common
tour, and some of his guvnor’s influence led country (So Alive, In Heaven Task (Northern Spy) is the hard stuff – and
is clear on Wilson’s sublime new record Making Love), direct storytelling offers all the algorithmic composition,
– in the low, breathy conversational (Fun For the Masses, Enemies) and microtonal harmonies and polyrhythms
vocal of ’69 Corvette and Platform; heartfelt ballads (Oh Girl). A joy from you could possibly want/tolerate…
the plaintive acoustic folk of New Home. start to finish. GRM

progmagazine.com 109

Old turns…





THE ALAN PARSONS PROJECT DANIEL CAVANAGH

Ammonia Avenue CHERRY RED
Monochrome/Colour KSCOPE
Kitchen sink treatment for seventh Parsons Project album.
Dan-athema’s first solo foray revisited and plumped up.
irst released in 2017, In contrast, Dawn is
FDaniel Cavanagh’s a succinct and exuberant
debut solo album was folk rock detour, before
plainly not created to Oceans Of Time again
alienate huge swathes of places Cavanagh at the
Anathema’s devoted fan ivories, as Anneke
base. From the haunting returns to sing, ‘I was
chords and simmering wrong to let you go…’
angst of opener The over an exquisite slow-
Exorcist onwards, motion surge of
Monochrome was analogue keys. Should
instantly recognisable as you hear it and find your
the multi-instrumentalist’s work. Where glasses are misting up, you won’t be
Anathema have the underlying oomph alone. Original album closer Some
of a well-honed ensemble, Monochrome Dreams Come True is simply beautiful
he age of the deluxe reissue reaches its apex again with was the sound of Cavanagh steering but, in its own tenderly optimistic and
Cherry Red’s extraordinary efforts for Ammonia away from the windswept bombast of artfully instrumental way, a little
T Avenue. It’s moot whether anyone would herald this universality and toward the sobering emotionally devastating if you haven’t
album as the strongest within the Alan Parsons Project’s back hum of intimacy. had enough sleep. As if having your
catalogue, but a reissue provides ample opportunity for At times these songs are unbearably heart torn out several times wasn’t
reassessment and this extraordinarily lavish package gives delicate: shorn of Anathema’s entertaining enough, this new edition
Ammonia Avenue its chance to shine. trademark grooves and layered comes with gorgeous acoustic takes on
clangour, This Music and Soho (both The Exorcist and The Silent Flight… and
featuring sublime vocals from Anneke two previously unreleased tracks,
This gives Ammonia van Giersbergen) cast pianos adrift in Found and Scandinavia. The former
Avenue its chance an ocean of reverb, subliminal strings is elegant and sweet; the latter wildly
to shine. and hissing ambience. The most off-kilter and woozily atmospheric; but
dazzling gem here is the nine-minute both add extra layers of sonic depth and
The Silent Flight Of The Raven Winged intrigue to one of the most distinctive
On offer is a set comprising – deep breath – three CDs, Hours: a cinematic, evocative post-rock and emotionally nourishing records
a Blu-ray disc, two 12-inch vinyl records in a gatefold sleeve, instrumental with wild, squiggling Cavanagh has put his name to yet. Just
a 60-page book, a replica poster and a reproduction press kit synths and a chirruping undergrowth. bring a hanky. DL
from the album’s original release back in February 1984.
Of course, a deluxe box set is only ever as good as the raw
materials residing at its core. For the most part Ammonia CYCLE
Avenue withstands the test of time strongly. Truthfully, some
Cosmic Clouds RISE ABOVE RELICS
songs have aged better than others. Topped off with Lenny
Zakatek’s soulful vocal, Let Me Go Home remains vibrant, Excellent, super-obscure Middlesborough trio’s complete 70s works.
whereas the keyboard and programming-driven One Good
Reason, sung by Eric Woolfson, sounds dated and one- hen collectors Whittingham. His
dimensional before being considerably enlivened by Ian Wexcitedly unearth singing was good, too,
Bairnson’s electric guitar solo. unknown bands, and considering how
Since The Last Goodbye, sung by the late Chris Rainbow, the quality of the quickly some of the
remains a lovely, orchestral ballad and is timeless. And the music isn’t always music was made it’s
commensurate with
surprisingly well
title track which closes the album – and represents the APP’s its rarity. Cycle, though, recorded. They were
most expansive song in this collection – remains imperious are a different matter. influenced by a range of
and replete with a glorious orchestral arrangement. The group played prog and hard rock
With the original album clocking in under 40 minutes, the extensively in the bands of the time
balance of the first CD is given over to various demos, early north-east but had including Yes and Deep
mixes and overdubs. But it’s the second and third discs – modest ambitions, Purple and the punchy,
subtitled Eric’s Songwriting Diaries and Studio Bonus Tracks thinking that no one from outside twisting riffage of Rich Man, Poor Man,
– that are the real draw for Parsons Project completists. their local area would be particularly Pig, on which they take a pop at
Woolfson’s “songwriting diaries” provide significant interested in booking them. Quality is politicians and breadheads, invites
insight into the development of several Ammonia Avenue no guarantee of success in the music comparisons to Groundhogs and Atomic
songs. Playing the highly polished final version of Prime Time business, but if the group had been Rooster. With its sweetly played guitar
back-to-back against the two-minute demo version featuring based in London or the home counties hook and vocal harmonies Mr Future is
Woolfson and an enthusiastically played piano is entertaining we would surely have heard a lot more the most obviously bluesy track (but
but it’s dubious how often anyone would repeat the exercise. about them. As it is they made less than Cycle avoided blues clichés).
There are no fewer than four versions of that track on here, 100 white label copies of an untitled, With Whittingham’s guitar fed
alongside three takes of Dancing On A Highwire and four of the self-financed LP in 1971 – which they through fuzz and echo they began
album’s title track. basically used as a demo – recorded stretching out structurally with
The third disc collects ephemera including a one-minute another in 1973, which until now songs like In The Beginning, a heavy,
radio advert for the album, rough mixes and backing tracks. remained unreleased, and made some spacey creation with an extravagant
two-track demos in 1975. Now we can
use of phasing. Then, inspired by
It’s hard to conceive of any base that hasn’t been covered by hear it all. Hawkwind’s DikMik, they got hold of an
this set’s curators. Ammonia Avenue was previously reissued Cycle certainly had the chops: oscillator, which they put through an
over a decade ago; anyone lured by the eight bonus tracks at Ronnie Patterson was a fluid bass echo unit. Admittedly, they got rather
that time might feel a little short-changed now. guitarist, Norman Smith a tight, speedy carried away with it on Tomorrow’s
NICK SHILTON drummer, and they were fronted by an World, but it adds an extra dimension
exciting, flamboyant guitarist, John and is great fun nonetheless. MB

110 progmagazine.com

RENAISSANCE
ESPERS
Turn Of The Cards ESOTERIC
Espers/The Weed Tree DRAG CITY
The sound of Annie Haslam’s band’s future arriving.
The first two offerings from the acclaimed American psych-folk unit.
eleased in 2004, blasts of fuzz guitar.
REspers put the group This approach invigorates
at the forefront of the the Nick Drake-like Riding
New Weird America and reaches its furthest
movement, and in their point on the closing
case that rather contrived instrumental Travel
term was apt. Formed Mountains where an
around guitarists and acoustic strum is overlain
vocalists Meg Baird and by stormy electric guitars
Greg Weeks, their brand and Baird’s heavily
of chamber folk looked reverbed voice calling
back to American across the valleys.
traditional music’s British roots, The Weed Tree, released in 2005, is
landing somewhere between Doctor a collection of cover versions of songs
Strangely Strange and the stately poise of that influenced the group – with the t’s a curious thing that Renaissance weren’t a bigger deal
Pentangle’s Cruel Sister. Over the years exception of an early version of their in their native UK until Northern Lights ushered them into
the album has lost nothing of its haunted appropriately sombre composition Dead I the singles charts in 1978. Why this might be is a matter
strangeness. Flowery Noontide sounds King – and saw the arrival of Otto Hauser of speculation. Leaving the Island Records roster would be
like something that might have come out on very restrained drums and percussion, one explanation. Perhaps the shift in personnel and the band’s
on Island in 1970, but while Baird delivers and Helen Espvall in cello. The album subsequent reinvention – often described as folk-rock in
a gorgeous vocal performance, the starts with a gorgeous reading of early-70s press – might be another. What’s certain, however,
arrangement of recorder and strings give Rosemary Lane, based on Bert Jansch’s is that the success of Northern Lights and its parent album,
it a creepy Wicker Man feel. But Espers 1971 arrangement, but some of the other A Song For All Seasons wouldn’t have happened had it not been
were far from being a retro band. And choices are less obvious, like Nico’s
just as the original folk rockers were Afraid (from 1970 album Desertshore)
influenced by the approach and the and Tomorrow by Durutti Column. And Mother Russia fully
instrumentation of the day – with the odd one out is a 10-minute version of assumes its cinematic
progressive rock an important input – Blue Öyster Cult’s Flaming Telepaths, grandeur in this remix.
Espers were wont to introduce some which concludes with a lengthy guitar
rather unpredictable electronics bleeping wig-out. But ultimately all these versions
into the mix and Weeks occasionally sound just like Espers, demonstrating the for 1974’s Turn Of The Cards. Finding their stride after
cranks up his amp and delivers disruptive strength of the group’s character. MB Prologue and Ashes Are Burning, the writing here is noticeably
more confident, the sound of a group truly finding its metier.
That confidence might also stem from an increased budget
KEDAMA following their switch to Sire Records in the USA. The
lavish quality, especially in the way Annie Haslam’s bell-
The Complete Collection CASTLE FACE
like sonorities glide serenely between Michael Dunford’s
Swiss krautrock as vital as it ever was. glimmering 12-string and John Tout’s classical keyboard
elaborations permeates every track. Arranger Jimmy
f timing isn’t quite by turns industrial Horowitz’s understated orchestration also adds a touch of
Ieverything in and strangely exalting, gloss and class that makes for something that arguably could
rock’n’roll – talent and while the majestic be described as symphonic pop rather than prog, with Tout
luck surely count for Finale shows how even squeezing in a prescient pre-echo of their next album,
something too – it should Kedama could achieve
never be discounted. The beauty alongside the Scheherezade at the end of Things I Don’t Understand. All of the
curious story of distressing. Zugabe is delicate traceries of instrumental detail and Haslam’s
Switzerland-based so disconcerting that impressive vocal throughout are enhanced in a new 5.1
krautrockers Kedama is Dario Argento would surround mix that’s the four-disc collection’s centrepiece.
a case in point. There’s have quailed to include While much of the original record would quickly become
a story that, after it in his most lurid regarded as hallowed stage favourites, standing above
recording their debut horror movie. them all perhaps is Mother Russia which fully assumes its
album in the mid-70s, the instrumental These sonic adventures are admirably cinematic grandeur in this remix. Inspired by the severe
trio just couldn’t build a viable audience complemented by a feast of outtakes privations documented in Alexander Solzhenitsyn’s semi-
and were forced to call it a day after from the Live At Sunrise Studios autobiographical One Day In The Life Of Ivan Denisovich, this
a catastrophically-attended gig in 1978. recordings, as well as a disc of live nine-minute epic was brutally trimmed to just three as Sire
Who knows what might have been if tracks dug up from the archives, attempted to break them into the US singles chart. Done
they could have brought their Crimson/ recorded by Kedema fans. Some of without their knowledge, the band loathed it at the time but
Le Orme-inspired brand of instrumental the outtakes mix the plain weird – happily, it’s included here for nerdy completeness.
experimentalism into land a little earlier HwrkInzg is deliciously disturbing funk – The in-concert portion of the set from 1974 accompanied by
in the decade. Certainly, on the evidence with the intergalactic, as on the chilled a small orchestra, is spread over two further discs. Boasting
of this three-CD re-release of material Intermezzo. The quietly bonkers a first-class, beautifully mixed sound, Jon Camp’s chugging
from both their debut album Live At Chinese Dragon is outstanding. Of bass is well to the fore adding bite, muscle and depth.
Sunrise Studios as well as other rarities, the live recordings, the two-part Mad Wishbone Ash’s Andy Powell guests on a 20-minute Ashes Are
they were not given a fair chance. Circus offers an insight into just how
For fans of outer-reaches instrumental exhilarating this outfit must have been Burning, perhaps repaying the compliment after Renaissance’s
prog this is scintillating and mind- as a live act. This is music which, just studio cover of Ash’s Everybody Needs A Friend earlier that year
expanding stuff. as it seems to fall apart, comes back in London. Previously unreleased, it’s yet another interesting
The material from Live At Sunrise together again. Any young progger feature on what is undoubtedly a comprehensive account of
Studios is as distressing, creaky and thinking of starting a kraut-influenced this period in the band’s development.
grotesque as it ever was. Overture is band, could do a lot worse than study SID SMITH
a soundtrack for a trip into inner space, Kedama’s chops and weep. RM

progmagazine.com 111

PLUS
KISS  JONI MITCHELL  DIO  THE KINKS  KROKUS  H.E.A.T  FISH
& MORE!

Old turns…




DEVIN TOWNSEND PROJECT
PUSSY
By A Thread: Live In London 2011 INSIDEOUT VINYL REISSUE
Pussy Plays MORGAN BLUE TOWN
Dev’s burger splurge, live and now on shiny plastic.
Vinyl reissue of super-rare psychedelic UK artefact.
he dubiously- just as swiftly. Perhaps
Tnamed Pussy were they should have stuck
a mysterious bunch. with the direction of the
Songwriter Danny first couple of songs –
Beckerman had been Come Back June and All
a staffer at Morgan Of My Life – both of which
Music when he put sound like the kind of
together a short-lived post-Traffic psych-pop
band, Fortes Mentum, that might have delivered
in 1966. They toured them an audience.
with David Bowie, Whitehead leads the way
issued a handful of on the former, his
singles and played the London circuit, Hammond organ rushing the song
but success never looked likely to knock. towards Clark’s fuzz-guitar crescendo.
Three years later, Beckerman and All Of My Life burns just as brightly, led riginally released in 2012, By A Thread: Live In London
ex-bandmate Barry Clark hatched a plan by Clark and a somewhat overly was the big, fan-friendly climax at the end of Devin
for a prog rock project. Peter Whiteman, dramatic vocal from Boyce. O Townsend’s bewildering, four-album, cheeseburger-
Clark’s old keyboard-playing There are swirling echoes of Hendrix, themed concept splurge that began with the astonishing Ki
schoolfriend, was in. After placing ads in Tomorrow and the Crazy World Of in 2009 and ended with the blissful Ghost, two years later.
Melody Maker, so too were lead singer Arthur Brown as the album ploughs Performing each of the albums in full, with lots of bonus
Dek Boyce, drummer Steve Townsend on, but it sometimes feels short on encores thrown in, Townsend and his self-named Project were
and bassist Jez Turner, all from We Shake actual songs. Comets, for instance, clearly revelling in the opportunity to play some challenging,
Milk. Curiously, Beckerman chose not to appears to be an excuse to mess about dynamic music to an audience that clearly hung on every last
join the group in an official capacity, with studio effects and a theremin.
preferring to act as producer, arranger G.E.A.B. is an improvised blowout that note. The frontman’s endearing humility aside, these are all
and chief songwriter. attempts to cover its shortcomings by powerful ensemble performances, revealing both the endless
Pussy Plays, released in 1969, feels getting progressively louder and wiggier. invention in Townsend’s work and the spirit of goodwill to all
like a bold experiment for the most part. Pussy didn’t last beyond this men that glues these wild and disparate ideas together. Newly
Swaying uneasily between prog, heavy sole offering, original copies of which converted to delicious vinyl, it all sounds better than ever.
psychedelia and freakbeat, it struggles now change hands for in excess of
to forge an identity, adopting themes £1,500. The music, alas, doesn’t quite Hear/feel the glorious
and musical accents, then dropping them hold its value. RH
bond between DTP
and the audience.
VARIOUS ARTISTS –
FURTHER PERSPECTIVES & DISTORTION In terms of synapse-frying thrills, both the opening Ki set
and the utterly berserk canter through the grotesque prog
An Encyclopaedia Of British Experimental And Avant-
metal of Deconstruction are stuffed with vital highlights. The
Garde Music 1976 – 1984 CHERRY RED -
former, in particular, is arguably more powerful in its live
Progressive music-making at the margins. incarnation than in its recorded state: despite Townsend’s
continual attempts to undermine his own stardom (“This is
n the late 70s, punk more examples to create a song about pussy!” he smirks, of the genuinely disquieting
Irock’s back-to-basics a scholarly account of Gato), it’s one of his most immersive and bold creations;
efficacy may have the avant-garde. The
grabbed the headlines inclusion of gems by Art Heaven Send, one of his finest songs. The Deconstruction
but below the fold, things Bears’ savagely caustic, material is definitely not for the faint-hearted, of course, but
were never quite as Rats And Monkeys, there’s a good reason why the applause after the monstrously
straightforward as Eyeless In Gaza’s off-kilter intricate likes of Planet Of The Apes and the truly unhinged
learning three chords, free-jazz/electronica Pandemic seems significantly louder than at any other point in
buying bondage trousers collations, John Peel fave- the proceedings. Townsend may have moved on to bigger and
and forming a band. As raves, Test Dept, through arguably better things (the seeds for last year’s Empath were
the decade came to a to Henry Cow’s astringent manifestly sown around this time), but DTP was a ferocious
close, there were creative manifestos and This vehicle while it lasted.
forces that shared an anarchic attitude Heat’s lo-fi angularity make for a bracing Meanwhile, it hardly needs restating that, in any
but couldn’t easily be corralled by a sneer collection. Almost every track offers incarnation, every moment of 2009’s Addicted album is like
or safety pin, thus ceding ground to a less a rabbit hole down which a sonic being plugged directly into a bag of sugar while Anneke Van
insular post-punk movement. wonderland of improvisation, pop, Giersbergen sings you to sleep.
Capturing something of that transition, poetry, dub and numerous other styles, The least celebrated of the four albums, Ghost was never
Cherry Red’s Miniatures (1980) and curiosity await. designed to incite circle pits, but there is still something
Perspectives And Distortions (1981) Mark Paytress’ dazzling essay glorious about hearing – feeling, almost – the bond between
offered quirky yet often brilliant sheds expert light on the way Townsend and the audience, as DTP drift serenely through an
snapshots of the experimental sparks experimentalist impulses have always hour of acoustic ambience and weirdly non-irritating New
that flickered between the generations. been co-opted by those open-minded Age posi-vibes. Again, on vinyl, it’s just a little bit more lush
Where else would you find George Melly players operating in the mainstream and
reciting Kurt Schwitters’ Dada poetry its margins. Threading lines from The and gorgeous than it was before.
next to Andy Partridge, Stinky Winkles, Beatles to radical improvisers AMM, With the added treat of a two-disc round-up of the four
Bob Cobbing, Mark Perry, Robert Fripp, the development of instrumental and shows’ encores, this amounts to 10 discs of prime Dev (and
Lol Coxhill, Thomas Leer and so many recording technology, and the reaction friends), captured at a key moment in the Canadian’s deserved
others, all making a distinctive mark? against punk’s innate conservatism, rise to glory. Sell a kidney to get a copy, if need be.
This impressive three-CD set includes it’s an authoritative look at a spirit that DOM LAWSON
much of those two releases and adds yet sounds bold and forward-looking still. SS

progmagazine.com 113



10CC: THE WORST BAND
JON ANDERSON & THE WARRIORS:
THE ROAD TO YES IN THE WORLD

David Watkinson SONICBOND Liam Newton ROCKET 88
Keys to ascension: Jon Anderson learns his trade. Epic tome is revived and extended after falling out of print.
hen one immerses undertook a solo stint as Hans
Woneself in the 70s Christian and played with Gun
pinnacles of Yes, it’s hard to (supporting The Who), before
picture Anderson as anything meeting Chris Squire opened
other than an astral being the floodgates to his imaginative
possessed by starlight and oceans. Watkinson, author of
spirituality. This diligently the Yes biog Perpetual Change
researched document of his interviews Jon and tracks down
musical formative years reveals various Warriors, peeking into
his learning curve, thankfully diaries, presenting memorabilia.
without (completely) blowing The book’s generous with lesser-
the mystique. The Accrington lad known delights: Jon and The Warriors
inhabited Lancashire’s 60s beat scene, appeared, in shiny silver suits, in the
playing the washboard on Lonnie movie Just For You alongside Freddie And
Donegan numbers before joining The The Dreamers. “We are not stereotyped here’s a poignant afterword from Eric Stewart in this
Warriors, covering Beatles and soul like a lot of other groups”, Jon told the updated reboot of Liam Newton’s 170,000-word
classics and hitting the club circuit in local paper. There’s charming nostalgia T biography of Stockport’s finest. “We were children in
Germany. Moving to London, he then within these enlightening pages. CR
our own toy shop,” he says, “…making strange sounds that
people thought were quite good… life was wonderful. Then two
MELODY MAKER of my friends wanted to go and play on their own and I was
very sad, and told them so… we carried on, but it wasn’t the
same anymore.” By all accounts Stewart is highly displeased
Melody Makers: The Bible Of Rock ‘N’ Roll WIENERWORLD
with Graham Gouldman currently touring under the 10cc
Canadian documentary take on the UK weekly’s pioneering heights.
name, and the various feuds and re-alliances between former
ryptically bookended formative days. Along members over the last decades would take a separate book to
Cby the Strawbs’ Oh with former staff document. Newton diplomatically keeps it fairly upbeat, but
How She Changed, Leslie writers, artists supply his justifiable obsession with the band makes for a thoroughly
Anne Coles’ 2016 film too-brief memories, enjoyable and informative read. As Kevin Godley’s said, “Quite
fabulously encapsulates including Judy Dyble – a story. Lots of stuff in there I didn’t actually know.”
the late-60s-early-70s who used the legendary
when music weeklies small ads to find Giles, Makes for a
dictated the acts worth Giles and Fripp
checking and made the careers of many, (“Without Melody Maker, King Crimson thoroughly enjoyable
including Jethro Tull and Genesis. Melody might have been a different little animal”) and informative read.
Maker is focused on as the publication – Dave Cousins, Steve Howe, Rick
that stood by prog rock, particularly the Wakeman, Chris Squire, Alan White, and Roughly halfway through the 500 pages, the original prog-
stunning work of photographer Barrie Sonja Kristina, who used MM to plot her pop foursome have already split, so there’s ample investigation
Wentzell. MM-related anecdotes abound pre-Curved Air folk club appearances.
(notably Wentzell’s chilling account of There are also liberal up-close Hendrix, of their post-How Dare You days, with Godley and Creme
trying to snap a paranoid Syd Barrett). Led Zep, Floyd and Who memories. becoming video gurus, Stewart playing with McCartney,
Ian Anderson recalls reading MM when he Younger viewers may find themselves Gouldman joining Wax and so forth, all four bursting with
sold it from the newsstand he worked on gobsmacked by the fun (and career creativity. Still, there’s a sense of what we’ve probably missed
and its crucial support during Tull’s opportunities!) of this amazing time. KN out on because of their divergences. Given the fizzing,
ingenious, rule-breaking energy of those early albums, and the
way Stewart and Gouldman’s pop smarts complemented
THE CYBERIAM Creme and Godley’s avant-garde leanings, they might have
found an art-rock nirvana, their own Abbey Road.
The story’s solidly told, from the pre-history (Gouldman
Live In The Cyberiam SELF-RELEASED
They’re a long way from American Idol now… and Stewart were of course key players in the 60s), through
the Strawberry Studio days (there’s a nice moment when Joy
his DVD captures Chicago’s the mainstream, he seems Division’s Ian Curtis admires the I’m Not In Love gold disc
TThe Cyberiam live in fully at home crafting prog on the wall) to the hits and halcyon albums. Godley ponders
November 2018, playing in a Porcupine Tree mood. whether they’d have been bigger if they’d had a striking
tracks from their debut He possesses a high, soulful image, but admits that record companies were torn between
album. The production voice and plays tasteful lead advising them thus and shutting up because the chaps
values are excellent for an guitar. Tommy Murray’s kept scoring unlikely number ones just by following their
independent release with drumming is articulate and instincts. Then there’s the difficult period, with fall-outs and
camerawork that’s not limited constantly engaging with the
to a handful of static angles – musical landscape, while Stewart’s grim 1979 car accident. As time goes by, the band’s
it’s embellished with some very Brian Kovacs’ thick basslines influence on later generations becomes evident, whether it be
imaginative post-prod multimedia lend drive and weight to the quartet. on Elbow or LCD Soundsystem, Tears For Fears or J Dilla.
visuals – slick editing, and a clear mix Frank Lucas’ piano melody brings It’d be simplistic to say 10cc are underrated nowadays:
(the drums might be just a tad dry, to a touch of melancholy to Don’t Blink; critics adore their breadth, from prog suite Feel The Benefit to
pick at nits). Singer and guitarist Keith The Fall proves the band can write hook-fest The Dean And I, and I’m Not In Love is an evergreen.
Semple has enjoyed a diverse musical hooks; while 2020 Visionary lets Yet still one feels more respect should be shown to these
life. Originally from Ireland he was once everyone bust some chops, with a spot mischievous maverick magicians. Like Newton’s nifty,
in a boy band and has appeared on TV of metric modulation from Murray knowledgeable book, we’re working on it.
shows such as American Idol and The playing over Semple’s riffing. American CHRIS ROBERTS
Voice but, despite those dalliances with neo-prog to watch out for. DW

progmagazine.com 115
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than five years since the Dogs have released Sherinian had recorded while in Dream
any new music, and at time of press, there’s Theater – makes a firm break from the past.
no sign of that changing any time soon. Given the members’ collective pedigrees, it’s
Sons Of Apollo might have little in a bold and confident move to stand on their
common musically with The Winery Dogs, own merits, but with chops this strong, they
but the former has reached the same fork essentially have carte blanche to craft their
in the road where the latter once stood. The own musical destiny.
group – in which Portnoy and Sheehan are Psychotic Symphony marked Portnoy’s official
joined by vocalist Jeff Scott Soto, guitarist return to progressive metal, a genre he
Ron ‘Bumblefoot’ Thal and pioneered with his former band.
SONS OF keyboardist Derek Sherinian SOA’s comparisons to that group
– toured extensively throughout
are occasionally obvious – the New
APOLLO 2018 in support of their Psychotic Millennium-like opening of Goodbye
Symphony debut, and they’re now
Divinity and the Home-reminiscent
back on the road to promote the God Of The Sun – while at other
VENUE THE ROXY, HOLLYWOOD “‘There’s more
recently released MMXX. times, they’re more subtle (the
DATE 25/01/2020 noodling
As SOA hit Hollywood’s famed Trail Of Tears vibe of New World
here than
Sunset Strip to perform their a ramen shop,’ Today, for example). Overall,
A second show in support of their Mike Portnoy though, the band admirably tries
few years back, Mike Portnoy and
to carve out their own musical
second album, the stakes are
Billy Sheehan founded an exciting
quips.”
niche, one that favours more
new band with a virtuoso guitarist
album and its corresponding tour
and gifted vocalist. They made a well-received high. The degree to which the percussive riffing and fewer
debut album and toured the world aggressively succeed will likely determine soaring melodies. This might
to support it, then quickly recorded a solid whether the band remains at the top of not always be for the best, caveat emptor, but
follow-up before taking a second lap around Portnoy’s depth chart, or if they’ll be relegated no one can dispute that these cats can play.
the planet. to periodic resurrections as schedules allow. (“There’s more noodling here than a ramen
Unfortunately, The Winery Dogs proceeded However if the group’s live prowess is a tea shop,” Portnoy quips at one point from behind
to abruptly tap the brakes on further laying the leaf, SOA is in it to win it. Over the course his suitably enormous kit.)
foundation for what – at least from the outside of two frequently thrilling hours, the band The band’s secret weapon might well be Soto,
looking in – seemed like a promising future. plays all but three tracks from their burgeoning who brings rock-star charisma, flamboyance
Although the band temporarily regrouped in catalogue and – unlike their first world tour, and energy to a typically staid genre. Similarly,
2019 for a short US tour, it’s now been more which featured covers of songs Portnoy and outside of boy bands, rare is the quintet that
The Roxy crowd
worship Apollo’s
offspring.

















Jeff Scott Soto
deservedly hogs
the spotlight.






















Noodle king: Billy
Sheehan’s fingers fly.
118 progmagazine.com

Mike Portnoy
features five clear and distinct personalities. onstage to duel lords it on drums.
Thal’s soloing – even when he’s tapping and with Thal. STEPHANIE CABRAL
sweeping at light speed – is remarkably fluid; In the lead-up
Sherinian plays his keyboards aggressively, and to the release of
even cops some Eddie Van Halen licks at one Psychotic Symphony,
point; Sheehan’s eight fingers are in constant Portnoy and
motion; and Portnoy sings and spits nearly as Sherinian went
often as he smacks and kicks. to great lengths
Whether the whole is greater than the to point out that
sum of its parts, though, is still up for debate. SOA was a “real
Watching Sherinian, Thal and Sheehan band” as opposed
unleash wicked tandem solos is undeniably to a studio project.
thrilling, but virtuosity for virtuosity’s sake To their credit,
is the musical equivalent of a sugar high, and they backed their
it would serve the band well to craft a few more initial bluster with an 83-date world tour,
irresistible hooks à la Coming Home and Alive. and they’re currently racking up those
To that end, it’s telling that tonight’s most frequent flyer miles once again. How long
memorable moments are SOA’s nods to Rush, they’ll continue to do so remains to be seen,
The Who and Deep Purple. The latter is saluted but based on tonight’s performance, here’s
via a blistering cover of Burn, which sees hoping there will be many more moments
a PSMS (and partial Planet X) reunion when in the sun yet to come.
guitarist Tony MacAlpine joins the band CLAY MARSHALL



Derek Sherinian has
everything under
control on keyboards. Solid soloing from
the mighty Ron Thal.































Shining a light: the
Sons Of Apollo rule
all they survey.

PROG ALL-DAYER his is the first of a new series of one-day plus-backing-track set-up, delivered with
events at the splendid Robin 2 in Bilston,
admirable good humour, works very well in
VENUE THE ROBIN 2, BILSTON T curated by Midlands prog fan Ken Slater, a relatively low-tech way. Their gear allows
DATE 26/01/2020 who should take great credit for a varied a more varied instrumental palette, with
six-band line-up. In fact, the electronica used effectively, in a similar fashion
organisation is hard to fault to Norwegian techno proggers When Mary.
as the youthful technical However, one does suspect that an occasional
staff perform admirably full band set-up might be needed if they’re to
Knees-up: Hayley
Griffiths and Joe and the day runs to time. climb the ladder above ‘easy opener’ status.
Payne get moving. Opening are the Youthful, Birmingham-based trio Axiom
modestly-monikered deliver a short and rather sweet 30-minute
Hats Off Gentlemen It’s set of funky, instrumental prog metal. There’s
Adequate, aka guitarist no doubting the musical ability on display, but
and vocalist Malcolm a half-hour set is about right, so the band may
Galloway and bassist Mark have to consider a few more variations in
Gatland. This two-men- texture in the future. However, it’s
a privilege to see them in their
formative stages and there’s
a huge amount of
promise on display.
Third Quadrant are
something of a surprise.
Despite their longevity –
this writer first bought one
of their albums in 1981 – their current
incarnation had previously failed to
convince. However, the band’s two-keyboard
approach gives them a more orchestral sound
than many – think Greenslade as much as
Genesis – with guitar used as a texture rather
than a lead instrument. The only downside is
the bass tone of the double-neck-wielding Dave
Forster, which annoyingly fails to cut through
the layers of synths as it should. But otherwise,

The Far Meadow:
a band of huge skill.






More than Adequate:
Malcolm Galloway riffs away.















Axiom: breezy and brief.


Double troubles
for Third Quadrant.




NEKTAR Thankfully, the legendary band delivers an The sextet begin with a fan favourite In The Dark, King Of Twilight, and the
VENUE KENNETT FLASH, KENNETT SQUARE, PA amiable and mesmerising show tonight from the 1970s, the infectious urgency soothingly hypnotic Remember The
DATE 09/01/2020 as well. Despite a few technical hiccoughs of Recycled. Aided by backing singers Future. For longtime fans, these are the
and a much smaller stage, they do an Maryann Castello and Maureen McIntyre – peaks of the set, and Nektar pull them
ast October, the newly reformed excellent job of demonstrating how well whose presence is subtle yet invaluable off almost faultlessly.
LNektar made their debut at ProgStock their latest album, The Other Side, stacks throughout the night – vocalist/guitarist As for The Other Side, it takes up a lot
in New Jersey and were endearingly up against the greatness of their earliest Ryche Chlanda excels at leading the of time, but that’s fine since it’s strikingly
adept at carrying on after the passing material. As such, they provide two hours faithful recreation. The same must be said reminiscent of those earlier benchmarks.
of frontman Roye Albrighton in 2016. of top-notch space rock charisma. of how they tackle Dream Nebula, Cryin’ In fact, a portion of Drifting is seamlessly

120 progmagazine.com

this is a confident, well-received performance copes admirably with singer Steve Taylor’s QUEENSRŸCHE
and something of a revelation. ‘new boy’ teasing. The band deliver another KATJA OGRIN VENUE HOUSE OF BLUES, ANAHEIM, CA
The Far Meadow continue to develop as beautifully judged performance. DATE 30/01/2020
a band of huge skill. Instrumentally, they’ve Finally, ZIO take to the stage, launching
become one of the best bands in the prog their magnificent debut Flower Torania and
firmament, however Marguerita Alexandrou’s performing the complete album with skill and ontentious break-ups are
vocals really need more prominence. She also enthusiasm. Vocalists Hayley Griffiths and Joe Ccommonplace in rock, but
needs more confidence on stage, and the lack Payne pirouette around each other dazzlingly, successful rebounds after losing an
iconic singer are few and far between.
of any sort of backing vocals in a band of this almost throwing the show into disarray during Three albums into the Todd La Torre-
quality is frustrating. But this aside, The Far one manoeuvre, as Hayley accidentally knees era, however, Queensrÿche is
Meadow are developing into a very special unit. Joe in the groin, threatening to lift his already unquestionably better off than in
Having played the Robin quite recently, angelic vocals into frequencies only audible by their final years with Geoff Tate,
Strangefish wisely concentrate on different dogs. Thankfully, the moment is laughed off when disappointing releases and
material, most notably their Fortune Telling and the set continues uninterrupted. The awkward career moves (Cabaret
album, in preparation for a complete inevitable drum solo from Jimmy Pallagrosi Tour, anyone?) tested the faith of
performance in March. Kris arrives during the splendid Inner City: Shorroma even the most ardent Rÿche’n’roller.
Hudson-Lee delivers the best and segues into a short Rush medley in Although the La Torre records are
bass tone of the day, and tribute to the recently-departed Neil Peart. respectable, Queensrÿche’s current
Indeed, if there’s a criticism to be had, it’s momentum doesn’t stem from their
that, with the somewhat sparse audience new material. Instead, it’s about their
clustered by the stage, it’s a very drum- past – that is, honouring the band’s
heavy performance, built for a bigger catalogue and presenting its material
crowd on a different day. However, it live so that its power can be properly
bodes well for both the band and future experienced. With Todd La Torre –
events. Hats off to Slater for a well-run a talented vocalist who’d be a fitting
and entertaining day. Air Raid Siren if that nickname wasn’t
STEPHEN LAMBE already claimed – and an impressive
live production that gives tonight’s
90-minute club performance a big-
show feel, the band delivers on both.
Opening with Rage For Order
outtake Prophecy is a both a nod to
die-hards and a platform for La Torre
to impress from the get-go. He
faithfully replicates Tate’s parts, but
adds subtle grit to his predecessor’s
often-stratospheric vocal melodies.
When the band follows with an
impressive one-two punch via the
doomy title track of Operation:
Mindcrime and a sneering Walk In
The Shadows, it’s clear that they
mean business. As the latter’s
harmonised guitar solo builds
towards another powerful La Torre
shriek, the impact is palpable.
“Hayley After the Empire deep cut
Griffiths Resistance, the group performs
a newer song, Man The Machine. It’s
accidentally Psychedelic shirtage high praise to say that it sounds like
knees Joe Payne from Strangefish. a glory years outtake, and for that
in the groin, matter, none of the four songs from
threatening to 2019’s The Verdict aired tonight feel
lift his angelic out of place among the classics.
Of those, there are plenty. Take
vocals into Hold Of The Flame and Breaking The
frequencies Silence remind us that Queensrÿche’s
only audible material was powered by groove,
by dogs.” something that the scores of
progressive metal acts they’ve
inspired often forget. And even when
the band aimed for accessibility on Jet
City Woman and Empire – standouts
tonight – they avoided Owner Of
A Lonely Heart-like wimpiness.
Before Queen Of The Reich, La
Torre asks for a show of hands from
those seeing the band for the first
time, and it’s surprising – and
interwoven into the Dream Nebula Side proves that Nektar remains photos and videos of war, the universe, inspiring – to see how many go up.
segment, and they continue with masterfully eclectic and ambitious. lava, evolving sea creatures and much Many arms remain raised during the
something that’s been in development For the encore, Derek ‘Mo’ Moore more accompany them, typically fitting song’s opening – one of metal’s all-
since 1974, the funkily melodic Devil’s introduces I’m On Fire, an impassioned the theme of a certain song. time great intros – when a galloping
Door. Afterwards, the perfect fusion ballad he wrote for his wife decades ago Nektar put on a wonderful show. They riff combines with an epic scream.
of poppy songwriting and intricate that conjures a bit of Led Zeppelin. deserve all the praise they can get for It’s a simple recipe, but even after 40
instrumentation makes SkyWriter Visually, the show is exciting and remaining this authentic, characteristic years, the potency remains undiluted.
pleasing; likewise, the classical touches weird, with the standard flashing and enthusiastic after so many years. The verdict is in: long live the Queen.
within the spacey Love Is/The Other coloured lights decorating the band as JORDAN BLUM CLAY MARSHALL

progmagazine.com 121

.
Norwegian wood:
OAK pay a visit.

THE DAVE Slash would be proud of, Pata WILL IRELAND
has the kind of greasy thrust
FOSTER BAND New York Rain gives Poortman’s
Dura thunders and the breezy
voice space to take wing. There
VENUE DINGWALLS, LONDON DATE 31/01/2020
SUPPORT OAK are false starts and moments
of uncertainty, but when it all
t’s Friday night at Dingwalls and Brexit comes together – as it does on the
is happening outside. Inside, Norwegian towering All That Remains – the
I proggers OAK have been chosen to bring Dave Foster Band are a force.
some Scandinavian flair to the “I’m going to summon a deity,”
occasion – it’s their first ever UK says Foster, before introducing his
show – and Dave Foster’s singer in the studio, the band members boss, Marillion guitarist Steve Rothery, who
Dinet Poortman has flown in from glancing at each other for adds typically soaring solos to Karma and
Nijmegen to ensure the Dutch are reassurance. By the time Home Ache. The set ends with an unexpected –
represented at the farewell party. hoves into view such worries are and delightfully bouncy – cover of
“This is dedicated to all the people “Dave Foster banished, and Perceiving Red is Propaganda’s 1985 pop smash Duel, before
of all nationalities all over the is a very, stunning. They have a gift for Rothery returns for the encore and only one
world,” she says, slightly forlornly, very good crescendo and atmosphere, for wag shouts for Grendel. The night ends with
which is about as diplomatic as guitarist. He songs that start off in one place the two guitarists and keyboardist Riccardo
you’re likely to get 90 minutes pulls off solos and creep towards another, and Romano trading solos: Foster grandstanding;
before the UK cleaves itself away for false endings: more than once Rothery somehow both understated and epic;
from mainland Europe. so intricate songs trickle towards silence then the Italian gleefully running his fingers up
First up, though, the Norway you fear he suddenly launch again, just and down the keys; and all three grinning at
option. OAK, standing amid won’t be able as audience members begin each other delightedly.
a forest of foot pedals, kick off to finish what to applaud. Only The Lights, FRASER LEWRY
with ambient, disembodied voices he’s started.” which frontman Simen
crackling through the ether, before Valldal Johannessen
launching into a set that suggests introduces as “11-and- Dave Foster,
they’re a little less certain onstage than they are a-half minutes of darkness”, proud as punch.
prolongs its welcome beyond what
Dinet Poortman might be considered polite, but
sings for the world. otherwise they’re a vivid,
widescreen success.
Dave Foster is a very, very good
guitarist. He can showboat,
running the length of his
fretboard at bewildering speed. He
can riff. He can do subtle. And he
pulls off solos so wildly intricate
you fear he won’t be able to finish
what he’s started. Amitriptyline
























Marillion’s Steve Rothery
adds some instant Karma.















122 progmagazine.com

Arthur Brown,
THE CRAZY understated as ever.
AMORPHIS KEVIN NIXON
VENUE O2 FORUM KENTISH TOWN, LONDON
DATE 22/01/2020 WORLD OF

morphis are celebrating 30 years of ARTHUR
Aactivity in 2020, and their lengthy
journey has proven itself to be quite the BROWN
increasingly experimental adventure.
When the Finns first debuted with
The Karelian Isthmus in 1992, they VENUE NELL’S, LONDON
were not progressive upstarts inclined DATE 25/01/2020
to be featured in magazines such as this
one. Rather, they were a death metal he lights dim and a hush comes over the
wrecking crew that owed far more to venue. Usually when the lights go out the
Entombed and Autopsy than to Rush T crowd erupts, knowing the headliners are
or Dream Theater. about to appear. But with Arthur Brown, there’s
Perhaps that goes some way to anticipation that what’s about to happen will be
explaining how – despite their music since special, but also unpredictable. Because Brown witnessing is a multimedia theatrical
embracing the prog, hard rock and folk doesn’t follow conventions. presentation “for the mind, body, soul and
genres – they’ve ended up at the O2 Who else would put their major song, Fire, whatever else you can think of”. Brown also
Forum tonight, as part of a co-headlining into the set very early on? But that’s not unusual admits that he first had the idea for this
double bill with the extravagant and for a man who has an individual approach. He concept in 1972, but it’s taken until now for
extreme Dimmu Borgir. goes through a range of costume and make-up technology to become advanced enough for
With decades of fine-tuning and changes after every track, leaving his band and him to bring this to fruition, startling images
forward motion under their belt, dancer Angel Fallon to entertain everyone while constantly flickering on a screen behind him.
Amorphis excel far beyond their original this happens at the side of the stage. The music With typical quirkiness, Brown muses that
vision tonight. What started life all those and visuals never cease. This a theatrical being the victim of bad voodoo is rather like
years ago as a rampantly loud four-piece presentation taken to an extreme. swallowing bad jelly babies! He also engages in
arrives this evening as a confident, Brown looks like the Mad Hatter imagined by banter with a few in the audience, asking them
nuanced and talented sextet. Their
broadened range of influences is visible Roger Corman, merged with the look of those what they think of the new song. The answers
in an instant: Tomi Koivusaari’s Carcass 1930s Flash Gordon serials with Buster Crabbe. range from “fantastic” to “amazing”, while one
T-shirt feels somewhat juxtaposed by It’s both surreal, yet also has a camp edge. Yes, wag shouts out: “It’s terrible”, much to Brown’s
fellow guitarist Esa Holopainen’s, which he’s oddball, but thankfully avoids coming over amusement.
has “2112” proudly adorned across it. This as daft – an easy trap to fall into. Whether The set ends with a perky rendition of
diversification becomes aural as ambient wearing wings, a demon mask or a waistcoat The Unknown, its Spanish lilt encouraging
vocals and smooth synth notes quickly that lights up, he’s mesmerising, his Brown and Fallon to engage in
break down into a twisted heavy metal movements inspired by mime, a little flamenco movement,
riff, signalling the opening song The Bee. music hall and ballet. the former also proving that his
Belting his way through the mighty Through such moments as voice is still remarkably pliable.
single, taken from 2018’s equally Time Captives, Brown preaches his The ensemble do return for
triumphant Queen Of Time, frontman treatise on the indomitable spirit Devil’s Grip, with everyone
Tomi Joutsen is as captivating as ever. of humankind, laced with a warning “Whether eagerly whooping on cue to
His performance pretty much perfectly about letting avarice take control. wearing wings, provide extra zest.
replicates what you hear on disc, weaving He relies solely on his own a demon The Crazy World Of Arthur
back and forth from imposing, guttural charisma and artistic vision to mask or a Brown never give a concert. It’s
growls to soothing clean singing with communicate. But then, after Gypsy waistcoat that an experience; each night should
admirable ease. All the while, he also Voodoo, the title track of his new be savoured. The man is still
proves a captivating stage presence, album, Brown decides it’s time to lights up, he’s a connoisseur of the absurd.
impressively drawing passionate mesmerising.”
responses from a crowd clearly used chat. He highlights that what we’re MALCOLM DOME
to music more unhallowed and wanton.
This peaks during the hard rock anthem Shiny: Angel Fallon
House Of Sleep, where more than 2,000 wields her wings.
people sing his majestic chorus back to
him word for word.
At the other end of the spectrum,
Heart Of The Giant may prove the height
of Amorphis’ prog rock tendencies. The
new track allows keyboardist Santeri
Kallio a chance to enjoy his moment in
the sun, tapping out a virtuoso solo that
smoothly transitions into one of
Holopainen’s own.
The Four Wise Ones is a dynamic
experiment that soars to success: its
verses lay out acerbic grunts over what
should be more calming instrumentation.
Subsequently, Scandinavian-folk-inspired
chants and drumming are thrown in to
create a suitably epic bridge – ideal given
this is one of Amorphis’ biggest headline
shows in the UK. And the fact that the
band have reached this apex at the height
of their progressiveness only makes their
set that much sweeter.
MATT MILLS


progmagazine.com 123

FRANCIS which was a single B-side, an interesting KEVIN NIXON
choice if not the most compelling moment
DUNNERY’S musically speaking. A-side The Old Man
And The Angel takes Dunnery into the
proggier end of It Bites’ repertoire although
IT BITES there’s a clear 80s new wave influence as
the band always had a broad palate.
Underneath Your Pillow, one of two
VENUE BUSH HALL, LONDON Delivering the
DATE 19/01/2020 selections from 1989’s wonderful Eat Me In best of It Bites.
St Louis, boasts lovely Brian May-style lead
wenty years after he left the band, guitar from Dunnery, who then hands the
Francis Dunnery has reclaimed the stage over to keyboard player Peter Jones, aka lost none of his prowess on the fretboard.
T mantle of It Bites, which seems fitting Tiger Moth Tales. Aside from being a top-flight Calling All The Heroes is the one song that has
now that the version of the group led by Bob keys player, Jones has a rich, warm voice, on full to make an appearance every night, and it’s
Dalton and John Beck has closed shop. London display in Don’t Let Go, Feels Alright, taken from delivered with infectious energy. He encores
marks the last night of the tour, Bush Hall is his Cocoon album. Dunnery returns with an with the expansive and proggy Once Around
sold out, Marillion’s Steve Rothery is in the acoustic guitar to perform Just A Man, the only The World and, saving the very best for last,
crowd, and Dunnery’s arrival onstage is greeted song from his solo output on tonight’s menu. Still Too Young To Remember with that
like Caesar returning to Rome in triumph. The The folky vibe makes a smart change of pace, magnificent, soaring guitar melody, received
acting like a palate cleanser before with loud exaltation. It’s one of those nights
Peter Jones: the full band returns. that’s testament to the uplifting power of live
he Feels Alright. Punchy Rose Marie flows straight music as a shared experience and a reminder
into Frank Zappa’s Black Napkins, that It Bites wrote some bloody great songs.
a chance for Dunnery to prove he’s DAVID WEST

The emperor returns:
a delighted Dunnery.












audience sings along to every song without
encouragement and the mood is borderline
ecstatic. The performance is punctuated with
Dunnery’s bawdy humour. “It’s like a big bath
of love,” he beams. “We’re naked in a Jacuzzi
together, rubbing each other’s bits.”
The set leans heavily on Dunnery’s time
with It Bites, including every track from “Dunnery’s
1988’s Once Around The World. The band kicks arrival onstage
off with the upbeat bounce of Kiss Like Judas
and Dunnery’s voice remains strong and clear is greeted
with the high notes still within his grasp. The like Caesar
bright, crystalline tone of his Stratocaster is returning to
unmistakable in Yellow Christian, a song that Rome in
carries more mass live than the studio triumph.”
recording. The set’s big surprise is Castles,








way the three of them lock together Like That to the memory of Neil Peart, Last Orders starts with a gentle jazz
THE ARISTOCRATS and goad each other on that makes much to the audience’s loud approval, and waltz before opening up with some swing.
VENUE ISLINGTON ASSEMBLY HALL, LONDON The Aristocrats such an invigorating live stretches out with an open solo. Tellingly, The Kentucky Meat Shower boasts more
DATE 25/01/2020 experience. Plus, they’re really funny. Beller and Govan don’t vacate the stage of Govan’s dizzyingly fast chicken-picking
“We tried to find the worst-sounding like most musicians during a drummer’s on the guitar, while Desert Tornado is all
here’s no support for The Aristocrats cowbell in the world,” says Minnemann spot. Instead they pull out chairs and sit sweeps and shredding. They conclude the
Ttonight and as Marco Minnemann, to introduce D-Grade Fuck Movie Jam, down to soak it up. It’s main set with the groovy Flatlands, then
Bryan Beller and Guthrie Govan take the a sleazy, greasy slab of funky fusion. a hell of a solo as Minnemann introduces for the encore Beller leads the crowd in
stage, they fall right into jamming along The first half of the set showcases their a musical phrase, plays in and around it, singing the melody of Smuggler’s Corridor,
to their entrance music which, in true latest album, You Know What…?. When before setting up the next idea. He throws which can only be described as pirate-prog
Aristocrats genre-defying fashion, is the We All Come Together is a funhouse in some Max Roach-style hi-hat licks and fusion. It’s remarkable to watch an
country tune Mule Train. From there they mirror reflection of a folk jig, with Govan he rounds it off with a dash of Rush’s instrumental trio playing challenging
launch into Blues Fuckers, from their 2011 busting out high-speed Albert Lee-style Tom Sawyer, aided by his bandmates, music but still producing so much
debut album, and it’s off to the races. It’s guitar picking, while his fluid melodic lines before they close the track with a duet excitement and energy in an audience.
not just that each member of the band is in The Ballad Of Bonnie And Clyde recall between a rubber chicken and a squeaky An absolute blast from start to finish.
a monster player as an individual, it’s the Jeff Beck. Minnemann dedicates Get It pig. Equal parts brilliance and silliness. DAVID WEST

124 progmagazine.com

ROGER CHAPMAN perhaps lost a bit of wattage, that extraordinary
ATOMIC ROOSTER vibrato bleat is still startling, and he can still KEVIN NIXON
VENUE 100 CLUB, LONDON
VENUE O2 SHEPHERD’S BUSH EMPIRE, LONDON hit notes that are beyond many singers his age.
DATE 06/02/2020
DATE 02/02/2020 And while he long since gave up on the kind of
SUPPORT THE MELVIN HANCOX BAND
aggressive delivery that left mangled mic stands
o matter what he did before or since, and splintered tambourines littering the stage,
very time one walks down the stairs the biggest, most colourful and there are still hints that he’s someone not to be
Eof London’s 100 Club, it feels like N flamboyant feather in Roger Chapman’s messed with.
gradually diving into the past and musical cap is that he fronted the band that Who Pulled The Nite Down, Habits Of
reaching the 60s, with its plastic chairs recorded Family’s classic Music In A Doll’s A Lifetime, Midnight Child and the funked-up
and “social club decor”. Tonight this
feeling is made even stronger by the House. One of the very first true
music that will be performed on this very progressive rock albums (released in Family man Roger
wide stage too. July 1968, pre-dating prog cornerstone Chapman in full flow.
Warming up an already quite big crowd In The Court Of The Crimson King by
is The Melvin Hancox Band; a trio playing more than a year), it was a fabulous,
60s-inspired blues rock, mixed up with ground-breaking, experimental and
a hint of Southern rock and a guitar adventurous record, pushing the rock
sound rich in reverb, which also adds envelope like few, if any, before it, with
an alternative rock/post-punk melancholy Chapman’s startling bleating vibrato
to the mix. Their sound is reminiscent of vocals sounding strangely menacing
Allman Brothers Band, with Zeppelin- when he cranked it up.
inspired vocals and a rockabilly look. Family recorded two more excellent
It’s very well summed up by their cover albums – Family Entertainment and
of the famous tune Sleep Walk played A Song For Me – before their prog
towards the end of the set. muse was elbowed out by commercial
In the meantime, the audience have imperatives and they began the slide
swelled to an impressive size, especially into mediocrity (with occasional vivid
considering that tonight is a school night flashbacks and some hit singles), and
and we’re watching Atomic Rooster in called it a day in ’73. After that
a city where they’ve played regularly
of late. Tonight really feels like a special Chapman recorded and toured with
occasion: it’s Steve ‘Boltz’ Bolton’s first Streetwalkers before setting out on an
live appearance with the band since he album-stuffed solo career, both phases Run For Cover are energetic revisits to
recovered from the surgery he had last delivering mostly workmanlike R&B. Chapman’s pre-Family, R&B soul-boy roots,
October. The guitarist was originally part For many of his fans, the magic ended when the bluesy Moth To A Flame is a chance for
of the line-up between 1971 and 1972, Family did. guitarist Geoff Whitehorn to shine, the must-
and returned to the fold when the band Tonight the magic begins with the first song, play Burlesque is probably the only song
reformed in 2016. when Chapman and his band ease their way in tonight that your parents might know, while
Atomic Rooster’s set is focused with Hey, Mr Policeman, its laid-back Hung Up Down is another early-Family
predominantly on the first three albums, sax/guitar riff filling the theatre favourite that’s greeted with
and it starts with the classic, Death Walks with an air of nostalgia in which surprise and delight.
Behind You. It’s very well received by the it’s easy to imagine you’ve just Not surprising is the encore of
audience, even though the band still caught a faint whiff of patchouli. The Weaver’s Answer followed by
needs a bit of time to hit their stride. They There will be more (and more My Friend The Sun, the former
get in the zone around the fourth song: an obvious) Family songs to come, “77-year-old Family’s signature song, tonight
amazing version of Black Snake, in which but Hey, Mr Policeman might well atmospheric, charged, marvellous,
we can admire the dramatic expression have claimed the night almost Chapman’s the latter beautifully delivered
and precision of Pete French’s voice, as before the show has begun. voice has and heartfelt. And if the title of
well as the band’s outstanding use of Like many other vocalists travelled the set closer, the Stones’ rollicking
dynamics. This is immediately followed through
by the instrumental VUG. Another who were not great singers in the decades Let’s Spend The Night Together,
formidable number is Break The Ice, a technical sense, 77-year-old pretty much was a question, most people here
during which Pete French looks intensely Chapman’s voice has travelled tonight would probably answer:
at keyboard player Adrian Gautrey, as if through the decades pretty much unscathed.” “Any time, any place.”
he’s drawing an esoteric energy from him, unscathed. While the power has PAUL HENDERSON
while he plays. The highlight tonight is
without a doubt Head In The Sky, which
receives a gritty yet precise and extremely
powerful performance.
Atomic Rooster reach the end of their
set with classic hits Tomorrow Night and
Breakthrough, which gives way to the
best drum performance of the set. After
a quick break, it’s time for the encore,
which consists of a fun cover of Arthur
Brown’s Fire. Once the crowd hears the
song’s distinctive opening, every single
person in the room starts dancing; it’s
the perfect way to pay homage to Atomic
Rooster’s origins. It really doesn’t matter
if there are only two original members
in the band today, what matters is how
these musicians play together, jamming
along, looking and smiling at each other.
The chemistry between the members of
this five-piece is electric and that’s exactly Roger Chapman & Friends:
how it should be. belting out the greats.
GIULIA MASCHERONI

progmagazine.com 125

DBA those prog snobs who deride the

VENUE TRADING BOUNDARIES band’s music as being without
DATE 14/02/2020 substance, or are still moaning
about Downes being back in
hile the rather sedate dining/gig Yes. It’s mesmerising, with Big Big Train’s David
experience of East Sussex’s Trading the keyboards creating lush Longdon joins DBA onstage.
WBoundaries might not symphonic textures,
be ideal for the more raucous of Bainbridge and Hodge The second set opens with Downes
live acts, when a band adapts adding discreet accompaniment as parping out Video Killed The Radio Star, WILL IRELAND
their set specifically for the Braide’s wonderful vocals carry the before Braide joins him for another Buggles
environment, as DBA have done song sky high. It’s met with roundly song, Elstree. And then we get Side Two
for their two performances here, deserved applause. of Skyscraper Souls, Big Big Train’s David
the impact is quite something. “DBA’s music The remainder of the first half Longdon joining in for Tomorrow and Skin
With just a few drum fills breathes freely of the set throws up a handful of Deep, Bainbridge adding a delightfully
added by tape tonight, the lack and develops songs of 2015’s Suburban Ghosts; tasteful solo to Lighthouse.
of drummer in the intimate organically Machinery Of Fate sounds a bit like They encore with Asia’s The Smile Has
arena allows DBA’s music to throughout the the Michael Sembello song Maniac Left Your Eyes, dedicated to John Wetton’s
breathe freely and develop two-hour set.” if the Pet Shop Boys had got their widow Lisa, here tonight, and their own
organically throughout the hands on it, Live Twice, which sees Dreaming Of England. They leave to rousing
two-hour set. Augmented by Braide flummoxed by reading from cheers and the thought of what DBA might
Lifesigns/Strawbs/Celestial Fire the wrong setlist, hints at Anathema achieve given bigger stages, bigger production
guitarist Dave Bainbridge and bassist Andy at their most melodic, while Sunday News from and if their conflicting work schedules
Hodge, there’s a bit more muscle to the melodic their Pictures Of You debut is an apt look at permitted it. A treat from start to finish.
tapestries woven by Geoff Downes, over tabloid harassment. JERRY EWING
which producer to the stars and Producers
singer Chris Braide’s delightful voice carries
the songs.
The set is the same as last year’s visit,
captured on the recently released Live In
England, although minus their take on Asia’s
Heat of The Moment, which they don’t have
time to fit in on the Friday evening.
DBA dive headfirst into the 18-minute plus
title track from their third album, Skyscraper
Souls, possibly a defiant two-fingered salute to




Perfect combination:
Geoff Downes and
Chris Braide.





















and those beats phase and fuse in state where the subconscious moves into and as they do, another wave appears and
WACŁAW ZIMPEL a manner that would surely gain approval the driving seat. then another, each building in intensity
VENUE LSO ST LUKES, LONDON from Steve Reich, the body does indeed Using a combination of electronics, and volume. By the time Zimpel stands up
DATE 31/01/2020 catch a groove. Zimpel’s nimble-fingered keyboards, loops, guitars, piano and his to blast twisting sheets of noise from his
organ stabs lock in and build on those beloved clarinet, Zimpel is a master of clarinet, eyes and ears have been reeled
here’s a wonderful physical foundations, and the net effect is akin to layering the instrumentation in a manner in, their attention utterly rapt.
Tby-product to Wacław Zimpel’s a mystical experience. that seems innocuous. And yet, by slowly Closer Release does just that, but not
music tonight, and it’s the conscious Indeed, premiering his new album, and methodically building the music up before Zimpel deploys his loopers to
realisation that the body is unconsciously Massive Oscillations, in the stunning in such a subtle yet effective fashion, the stunning effect. Gentle piano chords are
reacting to it. And this awareness is made environs of this converted church is audience is left wondering how the music caught and repeated and meshed with
all the more pleasurable when taking entirely appropriate. This isn’t to suggest rises to its frequent crescendos without open chord guitar strums and throbbing
into account that the skittering rhythms a devotional aspect to Zimpel’s music – really being aware of it happening. pulsations. Minimalism, drones, loops,
ushering in the 16-minute epic Random far from it – but its transcendent nature Opener Massive Oscillations takes electronics and jazz skronks come
Odds are far from straightforward or creates an element that’s almost on a far more understated yet no less together seamlessly to unmistakably add
easy to latch on to. Yet for all that, as the meditative as the mantra-like qualities effective journey than on its recorded up to Wacław Zimpel.
electronic pulses increase incrementally and use of repetition induce a trance version. Analogue drones gently rev up JULIAN MARSZALEK

126 progmagazine.com

WHEEL
CRACK THE SKY
VENUE THE ARDMORE MUSIC HALL, ARDMORE, PA
VENUE THE DEAF INSTITUTE, MANCHESTER DATE 10/02/2020
DATE 09/02/2020
SUPPORT THE NEW DEATH CULT
merican sextet Crack the Sky have hile bringing a stadium-styled
Abeen going strong since the mid- lightshow for a tour through some
1970s, and their latest album (2018’s Wof the UK’s more intimate venues
Living in Reverse) perfectly demonstrates may seem a little overkill, that extravagance
how well they can still carry on after all is a dazzling representation of Wheel’s lofty
these years. This year marks the 45th ambitions. Green and blue lights beam upwards
anniversary of their eponymous debut LP, from the stage, illuminating a disco ball that’s
so it’s in commemoration of both their
oldest and newest material that they hung above, and strobes pulsate behind the
perform tonight. Delving into gems from band’s four hooded silhouettes, making for The New Death Cult:
early in their career as well as more a powerful, lasting image. With a performance skeleton crew.
recent highlights – and with a few that more than backs up their visual impetus,
in-between selections thrown in just for those ambitions feel more probable than
good measure – the band absolutely hopeful now. Lascelles and new guitarist JC Halttunen, is MIKE GRAY
delight and impress from start to finish. The New Death Cult have only 30 minutes both beautiful and brazen, and their presence
Among the most modern selections to convince the gathering throng that their now oozes a tangible and infectious confidence.
is the folky ballad Red Rosary, which anthemic, progressively tinted alt-rock is worth It pulls you into their atmosphere with a tight,
includes several acoustic instruments that turning up early for, and they set about that hypnotic grip.
enhance their Beatles-esque warm vibe task determinedly. Fresh faces on the scene Vultures unites swinging grooves with
and dense harmonies. They also embrace – and adorned with skeleton bandanas and atypical time, the bass again a prominent force,
the spirit of Talk Talk with a bold semi- luminous green face paint – they unfurl rumbling and snarling like a freight train. It’s
electronic slice of memorable yet abrasive Ghost-inspired melodies, their a song that gravitates towards
antagonism complemented by banjo reverb-heavy sound adding a touch heavy, syncopated moments for
fingerpicking. Digging further back into of Floydian expansiveness across its climaxes and, alongside Where
their catalogue, 2015’s The Beauty of a host of short, hip-swinging songs. The Pieces Lie, packs punches the
Nothing and Rachel offer irresistible Whether thundering to life with audience are more than willing to
symphonic heartache and punchy curious off-beat drum fills or, like roll with. Those shorter moments
catharsis respectively, whereas Hot “Their
Razors In My Heart and Skin Deep – both on Light Spills Over, spitting out evil collective nestle alongside longer, more
taken from 1980’s White Music – evoke blues rock riffs between sweeping evocative and far-reaching tracks.
more of a stadium rock or funk edge. instrumental passages, they show grandeur Their collective grandeur feels
Along the way, From The Greenhouse that their progressive chops are feels like it like it could move mountains on
exudes lovely romanticism and Blowing just as integral to their sound as could move Skeletons, on which their cascading
Up Detroit – taken from singer John their radio-tailored hooks. mountains on broken guitar chords sound
Palumbo’s 1985 solo sequence of the Spurred on by the success of Skeletons.” hauntingly introspective, and
same name – is a wonderfully catchy last year’s debut album, Moving closing number Wheel, which is
and lively song. Backwards, Wheel arrive on British iced with velvet vocal harmonies
Naturally, the group know that fans shores with a spring in their step. and a dissident rage.
want to hear those early heavy-hitters, From the moment Aki Virta’s clattering bass The airing of older and lesser-known cuts
too, leading to many of the best moments and Santeri Saksala’s rolling toms introduce shows that the English/Finnish band have
of the night. Specifically, the majority Lacking – a song that invokes the moody, always had their eye on the same prize. The
of Crack The Sky – such as A Sea Epic, philosophical spirit of Tool – it’s clear they are difference now, however, is they’re striding
Hold On, Mind Baby, She’s A Dancer twice the band that vied for crowds’ hearts at towards it, beneath the flash and glare of
and Robots For Ronnie – is flawlessly festival slots across Europe last year. Their an engrossing, pulsating light show with
replicated. However, the two standouts sound has grown. The contrast in their two a frightening but pronounced conviction.
are easily their extended rendition of Ice, guitar tones, belonging to mainman James PHIL WELLER
with a classical piano interlude, and the
Surf City suite, which features snippets Powerful and lasting:
of Maybe I Can Fool Everybody (Tonight), Wheel start rolling.
I Don’t Have A Tie, We Want Mine and
even a bit of Rush’s Tom Sawyer that
draws massive applause from the
audience. Elsewhere, 1976’s Animal Notes
and 1978’s Safety In Numbers steal the
spotlight via Animal Skins, Lighten Up
McGraw and Nuclear Apathy. Just as he
did originally, Joey D’Amico steps out from
behind the drums to sing one of their
most beloved tunes, Long Nights, as well.
Throughout the evening, Crack The Sky
radiate immense vivaciousness, humility,
and dedication. First and foremost,
Palumbo sounds more like himself than
he has in years, which is equally
remarkable and endearing. When not
dishing out intimidating solos or duelling
fellow guitarist Bobby Hird, founder
Rick Witkowski tells jokes and trades
quips with the crowd. It’s these aspects,
coupled with their captivatingly authentic
yet exploratory takes on the studio
material, that really make tonight’s
performance entirely outstanding.
JORDAN BLUM

progmagazine.com 127





Where’s home? Ever had a prog date?
I live in a tiny little village in Yes. I met my wife when she
north Yorkshire. was playing baritone sax in
a psychedelic folk-fusion band
Earliest prog memory? at a free festival near Carlisle in
Sitting in a darkened room with 1985. She then led me by the hand
my dad when I was about 10, to this really weird tent to marvel
listening to Rick Wakeman’s at Hawkwind…
Journey To The Centre Of The Earth.
Who do you
First prog album call in the prog
you bought? community for
My very first a good night out?
album was actually My dear old
the soundtrack friend Bryan Josh
to Jaws, closely [from Mostly
followed by The Dark Autumn]. When
Side Of The Moon. we’re both in
the mood we
And the last? tend to reach
Fordlandia by Jóhann Jóhannsson. bacchanalian
He was known for composing heights of rare power!
music for films like Arrival and
Sicario, but this is a concept What’s the most important piece
album he made in 2008. of prog music?
It can only be Awaken by Yes.
First prog gig? Nothing comes close as a genre-
Pink Floyd’s The Wall tour at defining piece, it really is
Earl’s Court in 1980. I’d just preternaturally brilliant.
turned 16 and
it completely Which prog muso would you most
rearranged my like to work with?
consciousness, Andy Latimer from Camel. I’d
and put me on the love to do a duet with him on
road that I’m still guitar and me on Uilleann pipes.
trundling along. I think we’d fit perfectly. I hope
Troy Donockley he reads this!
And the latest? The great and good of progressive music give us
The Steve Hillage Band in a glimpse into their prog worlds. As told to Grant Moon Which proggy album gets you in
Glasgow, just before Christmas. a good mood?
It was a bleak night and the venue but only when I’m not in my by saying, ‘Good Free Hand by Gentle Giant. It’s
was small, but he was great. right mind! evening, Wembley!’ wild, terrifying and
joyous at the same
Newest prog Your specialist subject Your prog hero? time. My favourite
discovery? on Mastermind? Mike Oldfield. He Gentle Giant album.
The Russian duo The films of Laurel And turned my brain into
Iamthemorning. Hardy, 1929 to 1940. a 100 watt lightbulb Your favourite prog
I actually bought when I was a kid. album cover?
Lighthouse after hearing Favourite prog venue? Hergest Ridge and Wish You Were Here. I had
a track on a CD on the To see a show, Ommadawn totally blew posters of it all over my
cover of Prog. Pocklington Arts Centre my sockets. bedroom, but I was also a budding
– a lovely up-and- arsonist at the time. I once tried
Guilty musical pleasure? coming venue in York. To play, Outside of music what are to recreate it by setting fire to
I’ve been known to dance around Wembley Arena. I played there you into? my mate’s back. He didn’t go up
to Cannibal Corpse and to with Nightwish a few years ago Close-up magic’s been a passion though; I probably wouldn’t be
Baccara’s Yes Sir, I Can Boogie, and realised a childhood dream of mine since I was a kid. And talking to you now if he had.
baking. I bake all our bread in our
house; I’m deadly serious about What are you up to at the moment?
it. I have a proving cabinet! We are promoting the new
Nightwish album, Human. :II:
Nature., and then there’s the
year-long world tour. When
Mike Oldfield I’m home I’m working on new
music for Auri, my band with
turned my brain Johanna [Kurkela] and Tuomas
[Holopainen, from Nightwish].
into a 100 watt
ULLSTEIN BILD VIA GETTY IMAGES lightbulb when Nightwish’s
Human. :II:
I was a kid.”
Nature. is out
on April 10. See
www.nightwish.com.



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